Hogan (The Blood Artists, 1998, etc.) writes with cool precision and a great eye for detail, progressively building...
The romance between a bank robber and one of his former hostages threatens both the unity and the safety of his criminal crew.
Pals Doug (“Duggy”) MacRay, Jimmy (“Jem”) Coughlin, Desmond (“Dez”) Eldon, and Freddy (“Gloansy”) Magloan, regular guys from the working-class Boston neighborhood of Charleston, pull off a successful bank robbery in busy Kenmore Square. This is not a onetime thing, but the quartet’s regular business, approached with measured professionalism. Even when unexpected glitches interfere with the well-planned heist, cool heads prevail. Briefly taking pretty young branch manager Claire Keesey hostage, they get away clean, leaving nary a clue behind. (Masks prevent identification.) The twist here is that the robbers are average citizens with family ties and otherwise unremarkable lives, while the FBI special agent who pursues them, Adam Frawley, is the obsessed workaholic. Doug, meanwhile, does the unthinkable: smitten, he locates Claire, pretends to meet her for the first time, and asks her out. Their romance blossoms even as she, completely clueless about Doug’s original interaction with her, remains the main witness to the crime, receiving regular visits from Frawley. Their relationship too takes on a whiff of romance, though less explicitly. Tension arises among the thieving friends over the tandem decisions to sit on their loot and to back away from further bank jobs for a while, although they do hold up a movie theater in nearby Braintree. Frawley’s dogged probing yields some leads; the guys feel the heat and excoriate Claire, oblivious of Doug’s new connection. Matters come to a head when Jem learns of the relationship; he and Frawley squeeze the pair from opposite sides.
Hogan (The Blood Artists, 1998, etc.) writes with cool precision and a great eye for detail, progressively building suspense. Still, too much Doug and Claire and too little of the other thieves unbalances the story and gives it a disappointingly soft center.Pub Date: Aug. 1, 2004
ISBN: 0-7432-6455-X
Page Count: 384
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 2004
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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