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.

With wit and poetry, Dunn redefines the limits of the acceptable.įour 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.

Although the framing story-years later, Olympia schemes to save Miranda, her daughter by Arturo, from a perverse philanthropist-is poorly integrated, and the novel sometimes judders along, this is captivatingly original stuff. (Arms and legs become lion food hands and feet, fodder for 'transcendental maggots,' ironic souveniors of Arturo.) Arturo's pride and jealousy combine with the arrival of a failed assassin, now a freak himself, and with the twins' sideline of selling 'norms' unique sex, to bring the show to a flaming end. With overtones of classical tragedy, Olympia relates Arturo's growing power: first over his sisters, who vie for his love, then over the entire show, and finally over the many followers of the cult of 'Arturism,' who, like their prophet, have pieces of themselves amputated to transcend appearance. Using drugs, insecticides and radioactivity, Al and his wife Crystal Lil, sometime geek, produce Arturo, a thalidomide child Elly and Iphy, beautiful Siamese twins Olympia, the novel's narrator, an albino hunchbacked dwarf trained as a barker and the outwardly normal but telekinetic Chick. In language as original and fantastic as her story, Dunn ( Attic, 1970 Truck, 1971) tells the tale of Binewski's Carnival Fabulon, an unremarkable traveling show until patriarch Aloysius decides to breed his own freaks. Like a collaboration between John Irving and David Lynch, this audaciously conceived, sometimes shocking tale of love and hubris in a carnival family exerts the same mesmeric fascination as the freaks it depicts, despite essential structural flaws.

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