Christian Lorentzen, in the London Review of Books, wrote that the characters “seem like stereotypical middle-class strivers plucked out of 1950s cinema”, and indeed they slip into these careers somewhat easily, becoming a successful actor, painter, architect and lawyer. But soon the novel darkens, it jars and then it appals, becoming less about the four young men and more particularly about one of them: the one who won’t tell of why he limps, why he doesn’t have relationships, why he cuts. The one who won’t tell of his ugly childhood and why he fears he will never escape its horrors.
Ogadinma 