A heartening confirmation of the matchless skill and humanity of one of the true masters.


A welcome gathering of the great storywriter’s atypical longer works, newly translated by the industrious pair who have previously offered fresh versions of Tolstoy, Gogol, and Dostoevsky.

Pevear’s incisive introduction notes the author’s recurring theme of “human insubstantiality” and makes the invaluable point that “The quality of Chekhov’s attention is akin to prayer.” These virtues appear in embryonic form in “The Steppe” (1888), about a nine-year-old boy who’s transported by carriage across Ukraine to boarding-school, educated (as it were) during his journey by encounters with characters who embody a broad spectrum of Russian life. It’s a plotless and episodic masterpiece, enlivened by acute observation, vivid sensory descriptions of climate and landscape, and a compassionate fascination with the variety and vagaries of human imperfection and possibility. Both 1891’s “The Duel” (a jaded egotist and a narrowly focused scientist lock horns and discover through their confrontation the follies of their preconceptions) and “The Story of an Unknown Man” (1892), a curious analysis of the changing psyche of a spy and potential assassin, are less fully achieved. But the emotional odyssey undertaken by Laptev, the hero of “Three Years” (1895), subtly links his romantic attraction to two very different women with the ordeal of his family and class, a mercantile society that fears an apocalyptic future and clings possessively to rapidly vanishing standards and ideals. Even better is “My Life” (1896), a thoughtful rebuke to Tolstoy’s self-righteous doctrine of redemption through physical labor and material sacrifice. But it’s more than this, since it includes a carefully measured dramatization of its well-meaning narrator’s break with his wealthy family’s insularity and pride, of his failed marriage to a woman unsympathetic to his (quite genuine) ideals, and of his paradoxical growth in wisdom and serenity. It’s one of Chekhov’s most openly autobiographical—and greatest—works.

A heartening confirmation of the matchless skill and humanity of one of the true masters.

Pub Date: Aug. 16, 2004

ISBN: 1-4000-4049-3

Page Count: 544

Publisher: Everyman’s Library

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 1, 2004

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The phrase “tour de force” could have been invented for this audacious novel.

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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. 22, 2014

Kirkus Reviews Issue: Jan. 1, 2015

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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

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