Kempadoo charms and entices, but his intriguing narrative is not fully sustained.
An impulsive and inchoate sexual ménage embodies the incompatibility of contrasting classes—in a relentlessly lush second novel from the Guyanese-British author (Buxton Spice, 1999).
On the Caribbean island of Tobago, 20-year-old Cliff Dunstan and his ebullient younger brother Ossi (a genial sex machine) drift between occasional employment and indolence, to the intermittent dismay of their forthright “Mudda” and disapproving sister Lynette (the unmarried mother of a two-year-old). The brothers fall into acquaintance with wealthy corporate attorney Peter Johnson and his smoldering biracial wife Bella, who invite the “boys” to their lavish home, wining and dining and seducing them, settling on the nubile (though sexually experienced) Cliff as a kind of erotic toy. An allegory of exploitation is suggested by numerous references to the wide social and economic gaps between the Johnsons and their plaything, perhaps best encapsulated in the tart remarks of the couple’s visiting Trinidadian friend SC (initials denote a rude sexual cognomen), who warns them against indigent blacks and pointedly confronts the frazzled Cliff (“How come you all reach so far, man?”). The bitter dénouement (the Johnsons’ money, then their car turn up missing, and suspicion inevitably falls on Cliff) is deadened by redundant courtroom scenes in which its already loose plot slackens even further. But the tale is energized by Kempadoo’s lovely language—especially in chapters from Cliff’s viewpoint—in a lilting patois filled with arresting usages (“gallery,” “jealous,” and “advantage” as verbs, and onomatopoetic action words like “slurk” and “squinny”) and hauntingly vivid word pictures (“Bright-color pirogues all ’round the jetty tippling like floating insects, bowed bamboo fishing poles like whiskers dipping”). Such moments (and there are many) create an aching impression of a languorous paradise unthinkingly appropriated and violated.
Kempadoo charms and entices, but his intriguing narrative is not fully sustained.Pub Date: May 1, 2003
ISBN: 0-374-27757-5
Page Count: 224
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 2003
BOOK REVIEW
BOOK REVIEW
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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