A marvelous tale of human nature.
A psychological courtroom thriller from Cook (The Crime of Julian Wells, 2012, etc.).
Husband and wife Sam and Sandrine Madison are both professors at Coburn College in Georgia, but one evening, Sandrine dies from an overdose of pain medications and liquor. Is it suicide or murder? Sam’s strange behavior leads to his arrest, and his subsequent murder trial forms the structure of the story, told in his own words. The couple had grown apart over the years because Sandrine saw Sam as becoming increasingly indifferent and disconnected from her. Even when he learns Sandrine has Lou Gehrig’s disease and will surely die, he shows little sympathy or emotional support. He holds his town of Coburn in contempt and considers his students ignoramuses unworthy of his erudition. (Do these kids even know that “unique” doesn’t take an adjective?) Sam’s thoughts and speech are full of literary references that further separate him from ordinary people. If he ever gets around to writing the great book he vaguely plans, he won’t write it in his office—he doesn’t have one of those—but in his “scriptorium.” So Sam is an easy man to dislike, both for the townspeople and the reader. Maybe Sandrine committed suicide, as Sam claims. Or maybe he murdered her to escape the increasing burdens of her care, as the prosecutor wants the jury to think. Day by day, the state builds its case while the defense tries to tear it down. Sam’s own memories show Sandrine’s increasing frustration and rage with him, while conversations with the defense attorney reveal more of Sam’s personality than the defense dares allow the jury to know. Defense and prosecution are equally skilled and devoted to winning their cases, so the trial’s outcome—and the truth—are not easy to predict.
A marvelous tale of human nature.Pub Date: Aug. 6, 2013
ISBN: 978-0-8021-2608-5
Page Count: 352
Publisher: Mysterious Press
Review Posted Online: June 8, 2013
Kirkus Reviews Issue: June 15, 2013
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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