GOD LOVES HAITI

Name: GOD LOVES HAITI
Author: Dimitry Elias Léger
ISBN: 978-0-06-234813-5

by Dimitry Elias Léger ‧ RELEASE DATE: Jan. 6, 2015

With shimmering, lyrical prose, Léger conjures an incisive vision of Haiti’s complex heritage, tortured soul and dauntless...

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Can an unimaginable catastrophe bring forth a triumph of the imagination? It can and, in the case of Haiti’s 2010 earthquake, has with this bright, brilliant novel.

Journalist Léger’s first novel is, all at once, a bittersweet romantic comedy of errors, a vivid evocation of a calamity’s aftereffects and a valentine to his home nation of Haiti. The calamity in question is the 2010 earthquake that ravaged the island in a manner of seconds. In the midst of the devastation, three intersecting lives arrive at a reckoning: the country’s president, who has inherited a terrible legacy from decades of tyranny and corruption; his wife, Natasha Robert, a beautiful artist who, just before the quake struck, was in a sexual clinch in the presidential palace with her former lover Alain Destinè, the dreamer/entrepreneur she dumped for the chief executive. For a while after the quake, none of the three sides of this romantic triangle is certain the others have survived, yet they carry on with their lives on and off the island. The president is shown heading north to the U.N. in search of support, moral and otherwise. He finds it from his American counterpart in a hilarious exchange that, even if it didn’t happen, should have. Alain, meanwhile, finds himself dragging a broken foot through the debris while finding other survivors and dodging thugs ordered by the president to kill him for coveting his wife. (He’s saved from a beating by an American movie star who’s helping with the recovery.) As for Natasha, she wanders the battered landscape of bodies and rubble in a daze, her personal regrets overpowered by the grace and perseverance she finds in her people, whose country’s history was fraught with despair, death and injustice even before it was changed forever by what Haitians call the “goudou-goudou” (a euphemism approximating the sounds made by the earthquake).

With shimmering, lyrical prose, Léger conjures an incisive vision of Haiti’s complex heritage, tortured soul and dauntless spirit.

Pub Date: Jan. 6, 2015

ISBN: 978-0-06-234813-5

Page Count: 272

Publisher: Amistad/HarperCollins

Review Posted Online: Jan. 7, 2015

Kirkus Reviews Issue: Jan. 15, 2015

Categories:

LITERARY FICTION

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.

Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.