Caitlin, on the other hand, lives part of the year with her wealthy mother Phoebe, who’s just moved to Albuquerque, and summers with her father Lamb, equally affluent, on the Vineyard. Victoria, or more commonly Vix, lives in a small house her brother has muscular dystrophy her mother is unhappy, and money is scarce. In sixth grade, when Victoria Weaver is asked by new girl Caitlin Somers to spend the summer with her on Martha’s Vineyard, her life changes forever. The years pass by at a fast and steamy clip in Blume’s latest adult novel (Wifey, not reviewed Smart Women, 1984) as two friends find loyalties and affections tested as they grow into young women. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment…. 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. 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. 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. 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. "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. The phrase “tour de force” could have been invented for this audacious novel.Ī violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact. 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. And when Willem becomes a movie star, they all bask in his glow. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. 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. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. 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. There isn’t a single significant female character, and for a long novel, there isn’t much plot. Two of them are gay, one straight and one bisexual. 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. 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.
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