Happy families are all alike, which is why, even on the beach, they can be a bore.
Frank’s latest is her usual warmhearted look at grief, healing and South Carolina coastal life.
Jackie McMullen, an Army nurse, is relieved from her deployment in Afghanistan when she becomes the sole support of her 10-year-old son, Charlie. Her husband, Jimmy, a New York City firefighter, was killed in the line of duty. Her mother, Annie Britt, insists Jackie bring Charlie, who is deeply depressed after the loss of his father, to summer at the “Salty Dog,” the Britts’ Sullivan’s Island home. Although Charlie takes immediately to Lowcountry beachcombing, Jackie is unsettled by her mother’s obvious crush on Steve, the widowed dermatologist next door, who, Jackie notes ruefully, would rather flirt with daughter than mother. Annie is still married to Jackie’s father, Buster, although they have lived apart for 11 years (ever since Buster embarked on an extended fishing trip). But the presence of his only grandson lures Buster back to the Salty Dog, as does, although he won’t admit it, rekindled passion for Annie since her recent overhaul by a Charleston makeover maven. When Charlie himself (channeling Annie’s fondest wish) starts angling to stay on Sullivan’s Island instead of returning to Brooklyn, Jackie is torn. Jimmy’s grave is in New York, and her mother can still push every one of her buttons, for example when she insists on telling Charlie morbid Edgar Allen Poe tales right before bedtime. The sudden death of a neighbor, the husband of Annie’s best friend Deb, triggers a vicarious crisis that soon has the Britt family rethinking its priorities. Jackie and Doctor Steve, of course, both glimpse the possibility of moving on from loss together. Although leavened with wry humor, particularly in the sections narrated by Annie, the story stumbles under the weight of too many clichés. Moreover, Frank’s target demographic may be put off by the portrayal of Annie and other aging Boomers as positively geriatric.
Happy families are all alike, which is why, even on the beach, they can be a bore.Pub Date: June 12, 2012
ISBN: 978-0-06-196129-8
Page Count: 336
Publisher: Morrow/HarperCollins
Review Posted Online: June 16, 2012
Kirkus Reviews Issue: July 1, 2012
PROFILES
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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