Carlson's book affectionately captures the rhythms of small-town life. It's an understated work, spread a little too thin.
Carlson’s fifth novel, in which two native sons return after a long absence.
Back in 1969, high school senior Jimmy Brand rounded up three other seniors to form a garage band. The four guys savored their first assertion of independence, a taste of glory, but it all went to hell at the end of the school year. Jimmy’s big brother Matt, football hero and toast of the town, got stinking drunk; out alone on the reservoir in his father’s boat, he ended up cut to pieces. A devastated Jimmy left town right after the accident. Now it’s 30 years later, and Jimmy, a gay New York writer stricken by AIDS, has come home to die. While his mom is tenderly welcoming, his dad doesn’t want him in the house, so Jimmy bunks in the garage, their old rehearsal space. This is the story of that once tightknit group. The erstwhile drummer, Mason, a successful lawyer with his own firm in Denver, has returned to sell his childhood home. The visit leads to soul-searching by this unhappy, driven man. He feels better refurbishing his house; he’s joined by Craig, the hardware store owner, who’d rather spackle and paint than make nice to his customers. The pleasure of physical exertion is a major theme. The fourth member of the quartet, saloon owner Frank, rejuvenated by his second marriage, has no worries. Also featured prominently are Craig’s 17-year-old son, Larry, who loves his town but is ready to move on, and his wife, Marci, tempted to leave him for her boss. Jimmy has just enough strength to help Larry’s eventual girlfriend find her identity through her story writing and to sing along with the guys, who have re-formed the band and entered a talent contest. Sentimentality is the obvious trap, but Carlson avoids it. More problematic is the way that the reservoir accident remains unfinished business after 30 years.
Carlson's book affectionately captures the rhythms of small-town life. It's an understated work, spread a little too thin.Pub Date: July 15, 2013
ISBN: 978-0-670-02507-7
Page Count: 272
Publisher: Viking
Review Posted Online: April 8, 2013
Kirkus Reviews Issue: May 1, 2013
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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