“Fear and hatred, fear and hatred: often, it seemed that those were the only two qualities he possessed. Fear of everyone else; hatred of himself.”
A Little Life is a heart-wrenching tour de force. Dark, all-consuming, devastating, moving, stunning, brutal, dazzling, beautiful, disturbing, A Little Life is all of these and so much more. This is the kind of novel that haunts.
“Fairness is for happy people, for people who have been lucky enough to have lived a life defined more by certainties than by ambiguities.”
The first fifty pages or so may give one the illusion that the story they are about to read is the usual tale of a group of friends trying to make it in the big city. Which in some ways, it is. Friendship is one of the novel’s underlying motifs. But, A Little Life is first and foremost a novel about pain, suffering, and trauma. And as highly as I think of this novel I could not in good conscience bring myself to recommend it to anyone else. Large portions of this 800-page novel are dedicated to depicting, in minute detail, a man’s past and present physical, emotional, and psychological suffering. We also have to read paragraph after paragraph in which adults inflict all kinds of horrific abuse on a child. What saves this novel from being yet another sensationalistic or gratuitous take on sexual abuse are Hanya Yanagihara’s clear and realist style and the many moments of beauty, kindness, love, empathy that are interjected throughout the narrative. Still, even so, I can see why some may find A Little Life to be too much. Hell, there were many instances where I found myself thinking ‘I can’t it, this is too much’. But who was I kidding? Once I started this novel I knew that I had to finish it and in fact I devoured it over the course of three days.
“Friendship was witnessing another’s slow drip of miseries, and long bouts of boredom, and occasional triumphs. It was feeling honored by the privilege of getting to be present for another person’s most dismal moments, and knowing that you could be dismal around him in return.”
The novel recounts, decade-by-decade, the lives of four friends in New York City from their early 20s to their 50s. There is JB, a gay painter, Malcolm, who still lives at home and dreams of becoming an architect, Willem, an orphan who is pursuing an acting career, and Jude, also an orphan, who is a lawyer. Jude’s is reticent about his past and his friends know to leave it well alone. He has a limp and suffers from many health-related issues, which were caused by a car injury. As the story progresses the narrative shifts its focus on Jude and his many ongoing struggles. Jude’s horrific childhood and teenage years are revealed to us slowly over the course of the story. To cope with his traumatic experiences Jude self-harms, something that definitely hit close to home so I appreciate the authenticity with which Yanagihara portrays Jude’s self-harming. Similarly, his self-hatred and self-blaming are rendered with painful realism, without any judgment on the author’s part. While there were many—and I mean many—horrifying and painful scenes, there are moments of beauty, lightness, and tenderness. As an adult Jude is surrounded by people who love him, there are his friends, colleagues, neighbours, mentors, and it is here that the novel is at its most moving.
This is a novel about sexual abuse, pain, grief, friendship, love, intimacy, hope, and silences. The characters (it feels wrong to even call them that) are fully-formed individuals, imperfect, at times incongruent, yet nonetheless lovable. Oh, how my heart ached for them.
Yanagihara foreshadows certain events but even so, I found myself hoping against hope that the story would not be a tragic one. Yet, this unwillingness on Yanagihara’s part to provide a happy ending or to give her characters sort of closure that makes her novel simultaneously subversive and all the more realistic. Things don’t always get better, people can’t always overcome or reconcile themselves with their trauma, love doesn’t ‘fix’ people, you can’t magic away someone else’s pain. I have never sobbed while reading a book but I was sobbing intermittently throughout my reading of A Little Life. At times reading about Jude’s pain was brought me to tears, at times it was when coming across a scene that is brimming with kindness and love (basically anything with Jude and Harold or Jude and Willem).
“I want to be alone,” he told him.
“I understand,” Willem said.
“We’ll be alone together.”
This novel made me feel exposed, naked, vulnerable, seen in a way I wasn’t ready to be seen. It broke my fucking heart. It disturbed me, it made me ugly-cry, it made me want to find Yanagihara so I could shout at her. To describe A Little Life as a piece of fiction seems sacrilegious. I experienced A Little Life. From the first pages, I found myself immersed in Jude, Willem, JB, and Malcolm’s lives. When I reached the end I felt bereft, exhausted, numb so much so that even now I’m finding it difficult to to articulate why I loved this so much (then again my favourite band is Radiohead so I clearly like things that depress me). I doubt I will ever be brave enough to read it again but I also know that I will be thinking about A Little Life for years to come.
Adroit, superbly written, and populated by a richly drawn A Little Life is a novel unlike any other, one that you should read at your own risk.
my rating: ★★★★★
ps: the bond between Jude and Willem brought to mind a certain exchange from Anne Carson’s translation of Orestes:
PYLADES: I’ll take care of you.
ORESTES: It’s rotten work.
PYLADES: Not to me. Not if it’s you.
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