From the prolific Busch (Domestic Particulars, Invisible Mending, Too Late American Boyhood Blues, etc.), 14 sometimes touching but as often overreached stories. As if straining for purpose or occasion, Busch takes up situations that frequently have a putatively topical or readied drama about them—a mother has been taken hostage in Lebanon, and her family back home moodily watches her on TV ("Reruns"); a white man is disowned by his emotionally constrained parents after he marries a black woman ("From the New World"); an about-to-be-divorced couple visits one of their parents, a victim of Alzheimer's disease who recognizes neither of them ("Comrades"). A sense of falsely heightened drama pervades the TV-like "Dog Song," with its busily kaleidoscopic overlays of degeneracy, hospitals, and car accidents (a well-off judge, unhappy in marriage, may or may not have attempted suicide by automobile), as it does the time-fractured "Gravity" (in exterior time, a basketball game is being played; in interior time, a woman grieves for the death of her adoptive father). Busch's skill and sensitivity can bring about the simple ring of true gold, as in the best piece here ("Naked"), in which a 13-year-old boy in Brooklyn learns unsettling truths about his parents' past when a close friend (called Uncle Rudy) divorces his wife to marry a younger woman. Almost as true is "To the Hoop" (a teen-aged boy's depression after his mother's suicide), but it and others veer into the robustly mannered, melodramatic, or conscientiously routine—"Greetings from a Farflung Place" (a female singer is a has-been at 41); "In Foreign Tongues" (lonely New Yorkers, long in group therapy, meet for a ritualized dinner and talk); or "Ralph the Duck" (a hard-boiled but all-good man—who works as night watchman at a pretentious college—is haunted, though the reader doesn't know about it until it's sprung at the end, by the memory of a daughter who died young). In all, glimmers of real ore peek out amid the standard in stories that often feel self-consciously willed into being.
Pub Date: April 8, 1989
ISBN: 394-57426-5
Page Count: -
Publisher: Knopf
Review Posted Online: June 24, 2010
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
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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