A powerful novel of hard men in hard country reminiscent of Jim Harrison’s Legends of the Fall.
Wagamese (Dream Wheels, 2006, etc.) sends young Franklin Starlight on a "medicine walk," a journey of knowing, in this story about the nature of manhood.
Franklin’s been called to western Canada’s lumber-mill town of Parson’s Gap by his father, Eldon, who has lived "a life with benchmarks that only ever set out the boundaries of pain and loss, woe and regret, nothing to bring him comfort in his last days." Eldon’s dying. He wants Franklin to carry him into the mountains to "a ridge…sitt[ing] above a narrow valley with a high range behind it," a place Eldon once found peace. "I need you to bury me facing east...[s]itting up in the warrior way." His father ever absent, Franklin was raised by an old man with an unexplained connection to Eldon, a farmer who cherished him and taught him to cherish the land-centered ways of Franklin’s Ojibway and Cree people. Franklin is only 16, "big for his age, rawboned and angular…grown comfortable with aloneness and he bore an economy with words that was blunt, direct." Wagamese is a keen observer, sketching places ("stars in the thick purple swaddle of the sky") or people ("He leaned when he walked, canted at a hard angle to the right as though gravity worked with different properties on him") elegantly, economically, all while gracefully employing literary insight to deftly dissect blood ties lingering in fractured families. During the trek, Franklin finally learns about his father, "the story of him etched in blood and tears and departures as sudden as the snapping of a bone"—his own father dead in WWII; how he nearly killed his mother’s abusive boyfriend; his nightmarish Korean War experience; and his broken promises to Franklin’s mother.
A powerful novel of hard men in hard country reminiscent of Jim Harrison’s Legends of the Fall.Pub Date: April 14, 2015
ISBN: 978-1-57131-115-3
Page Count: 256
Publisher: Milkweed
Review Posted Online: Jan. 20, 2015
Kirkus Reviews Issue: Feb. 1, 2015
BOOK REVIEW
BOOK REVIEW
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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