It's back to San Francisco and the genteel, graceful life—undermined this time by dark desire and disease—for the prolific Adams (A Southern Exposure, 1995, etc.), whose tenth novel is a virtual catalogue of physicians' moral flaws. Cock-of-the-walk Dr. Raleigh Sanderson, the city's preeminent heart surgeon, thinks nothing of ignoring his grandchildren, keeping a beautiful mistress, and boffing nurses as necessary to relieve his post-op erections; big-toothed Dr. Dave Jacobs, a widower, believes in total domination of the woman he's with; Dr. Mark Stiner, after driving his long-suffering wife to drink (as Dr. Sanderson has), takes up with a colleague. But the focus isn't really on these manly specimens, or even on their spouses, but instead on a couple of women, Molly and Felicia, best friends who have the great shared misfortune of being involved with medicine's finest. For Molly, divorced and widowed, the connection with Dr. Dave begins just as she falls ill, and her dependence on him grows when it's discovered that she has a golfball-sized tumor in her sinuses. He soon comes to dominate her every moment, until by skipping out on her last radiation treatment (and on Dr. Dave), she reasserts control of her life. Felicia, Dr. Raleigh's mistress, is utterly infatuated with the surgeon for a time, but when he hits her for stepping out on him she drops him cold. He stalks her, creeping nightly around her house, until he is foiled finally by her new man. Woven among with these two primary relationships are a host of lesser connections, of ex-wives to former husbands or lovers, brothers to others, creating an intimacy that often seems to flirt with the incestuous. But this is Adams's stock in trade, and her skill at sustaining an entre-nous point of view remains superb, leaving the reader flattered by the author's confidence, if a little uncertain as to her aims.
Pub Date: April 15, 1997
ISBN: 0517269309
Page Count: -
Publisher: Knopf
Review Posted Online: March 15, 2012
Kirkus Reviews Issue: March 1, 1997
PERSPECTIVES
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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
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