A poignant portrait of mother-daughter love in the face of death, without the attendant melodrama easily wrung from such...
Embracing a far smaller universe than her usual sweeping historical fare (The Language of Threads, 1999, etc.), Tsukiyama blossoms with an intimate portrait of a mother and her dying daughter.
Spanning only two days (but a lifetime of memories), the narrative is divided among Hana, her mother Cate, and teenaged goddaughter Josie. Hana is in the last stages of Werner’s Syndrome, a disease that speeds up aging. Though only 38, she has the stooped, birdlike appearance of someone in her 80s and has been subject to old-age ailments since she was barely out of college. Now in a final decline, mostly wheelchair-bound, Hana finds refuge in the memories of her childhood and particularly of her beloved father Max, recently deceased. Cate, still mourning the loss of her husband, also retreats into the past, her memories of a gentle prince in a Thunderbird convertible. They were an unlikely pair—Cate the Boston-bred daughter of Italians, Max a Japanese-American who suffered as a child in an internment camp—but devoted to each other and to Hana. When Werner’s Syndrome handed out an early death sentence to their only child, the couple was devastated. Less successfully thrown into the mix is the voice of Josie, daughter of Hana's childhood friend Lara. She’s in a particularly unpleasant teenage stage, seeing everyone as a fake, and her unhappiness about her parents’ separation (as well as life in general) throws a superfluous stitch into an otherwise seamless tale focused on the sorrows of dying. Against Hana's wishes, Lara flies with Josie in tow to their small northern California hometown, where Hana still lives. The visit provides an expected epiphany for Josie, but also a respite for Hana: loneliness and isolation had begun to cripple her spirit, but Lara's visit will reintroduce hope and happiness into the house.
A poignant portrait of mother-daughter love in the face of death, without the attendant melodrama easily wrung from such material.Pub Date: May 1, 2001
ISBN: 0-312-20607-0
Page Count: 304
Publisher: St. Martin's
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2002
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
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
SEEN & HEARD
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
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.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
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