An enigmatic novella, whose suggestive central image strikingly encapsulates the character of post-Soviet society and, more generally, the fate of man—from the prize-winning Russian author of Omon Ra (see above). Protagonist Andrei is riding on a train called the Yellow Arrow, whose destination, he learns, is a ruined bridge. Passengers die, their funerals are held on board the train, and their bodies are thrown ``out there'' beyond the passing embankments. ``World culture takes a long time to reach us,'' Andrei's fellow travellers complain, enduring their closeted state as best they can by practicing an indigenous ``folk art'' (the train does a thriving business in handpainted beer cans) and also the religion of ``bedeism'' (the belief that they're being pulled along by a ``B.D. 3'' locomotive). One thinks, inevitably, of a cramped and repressed population unable to break free of its imprisoning environment—but Pelevin's wry fable earns a convincingly wider resonance. Andrei guesses that the train may be named as it is because its lateral motion visually resembles the vertical descent of falling stars (``yellow arrows'') in the foreordained transit from incandescence to extinction. He shares the common yearning to journey ``out there'' past his compartment's windows, while knowing he can do so only when his own portion of the train's journey is concluded. Imagine Hermann Hesse with a robust sense of humor, and you'll have an idea of the complex emotional texture Pelevin manages to create for his story's climactic moment—a climax that daringly evokes, and does not suffer from comparison with, Tolstoy's great short novel The Death of Ivan Ilyich. A brilliant parable that treats a dauntingly abstract conception with vivid specificity and clear-eyed humanity.
Pub Date: May 1, 1996
ISBN: 0-8112-1324-2
Page Count: 96
Publisher: New Directions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1996
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
Heartfelt, yes, but pretty routine.
Life lessons.
Angie Malone, the youngest of a big, warm Italian-American family, returns to her Pacific Northwest hometown to wrestle with various midlife disappointments: her divorce, Papa’s death, a downturn in business at the family restaurant, and, above all, her childlessness. After several miscarriages, she, a successful ad exec, and husband Conlan, a reporter, befriended a pregnant young girl and planned to adopt her baby—and then the birth mother changed her mind. Angie and Conlan drifted apart and soon found they just didn’t love each other anymore. Metaphorically speaking, “her need for a child had been a high tide, an overwhelming force that drowned them. A year ago, she could have kicked to the surface but not now.” Sadder but wiser, Angie goes to work in the struggling family restaurant, bickering with Mama over updating the menu and replacing the ancient waitress. Soon, Angie befriends another young girl, Lauren Ribido, who’s eager to learn and desperately needs a job. Lauren’s family lives on the wrong side of the tracks, and her mother is a promiscuous alcoholic, but Angie knows nothing of this sad story and welcomes Lauren into the DeSaria family circle. The girl listens in, wide-eyed, as the sisters argue and make wisecracks and—gee-whiz—are actually nice to each other. Nothing at all like her relationship with her sluttish mother, who throws Lauren out when boyfriend David, en route to Stanford, gets her pregnant. Will Lauren, who’s just been accepted to USC, let Angie adopt her baby? Well, a bit of a twist at the end keeps things from becoming too predictable.
Heartfelt, yes, but pretty routine.Pub Date: July 1, 2004
ISBN: 0-345-46750-7
Page Count: 400
Publisher: Ballantine
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 2004
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