A thoroughly absorbing and deeply moving consideration of “the strength of love” matched against “the strength of death” dominates this wonderful second novel by the author of the widely acclaimed The Sixteen Pleasures (1994). Center stage is Alan “Woody” Woodhull, a middle-aged professor of classics at a small Illinois college, whose oldest daughter “Cookie,” during a terrorist bombing of an Italian train station, is killed in 1980—a senseless loss that pulls the Woodhull family apart. Cookie’s mother Hannah leaves her husband and enters a convent. Younger siblings Sara (who narrates part of the story) and Ludi go their separate ways. And Woody, an impressively well-rounded and endearingly decent human being, seeks consolation in the ancient writers he adores, in a passionate avocation as blues guitarist and singer, and in an ill-judged tryst with a beautiful Iranian student (whose mother had formerly been his mistress). Disgraced and suspended from teaching, Woody travels in 1987 to Bologna when the terrorists responsible for Cookie’s death (as well as others—) are brought to trial, and there he achieves both a vita nuova and a greater understanding of the forces that impel some people to become cold- hearted killers, others only well-meaning adulterers. In this amazingly rich story, Woody Woodhull is shown in the context of his many “loves,” is celebrated in generously developed scenes (many during holidays: ceremonies intended to bind people together), and is examined in superb extended conversations: Woody’s Christmas visit from Hannah; a classroom discussion that makes you want to curl right up with The Odyssey; and, climactically, Woody’s meetings with the agonized father of convicted terrorist Angela Strappafelci; and then—the book’s most risky and powerful scene—with the unregenerate Angela herself in her jail cell. The primal power of family, and the limitations and blessings of the intellectual life, are unforgettably explored in a wrenching story that demonstrates precisely how “It’s not the great stories that give meaning to the little ones; it’s the other way around.— (Author tour)
Pub Date: July 21, 1998
ISBN: 0-684-85026-5
Page Count: 464
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 15, 1998
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
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
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