Although the events he recounts remain cryptic, Baricco’s style is lucid, and the appearance-versus-reality mind games he...
Two novellas, thematically related by the theme of love...or the lack of love.
The first, Mr. Gwyn, is a tour de force of literary fiction about a mysterious, somewhat reclusive and definitely quirky author. At 43, much to the distress of his agent, Jasper Gwyn has tired of writing books. After a brief and restless hiatus, he's inspired to create “portraits” in a way analogous to that of visual artists. He rents a studio and even commissions a composer to create “mood music” appropriate for the space. Then, to practice his craft, he hires his agent's assistant, Rebecca, to visit the studio four hours a day for 30 days. She simply lives her life there (though without clothing), and Gwyn observes her, though some days he doesn’t even bother to show up. At the end of that time, he produces a portrait in words that Rebecca finds extraordinarily insightful and deeply moving. Gwyn develops his talents and winds up with a flourishing business for those who want their portraits “painted” in words; the most meaningful one is for his agent, who has a terminal illness. Throughout the story, Baricco suggests that Gwyn is able to do in words what he can’t in life—get close to people. Rebecca then makes a startling discovery, believing that Gwyn has plagiarized his portraits from another author, Klarisa Rode, but in fact, he's begun publishing under assumed names. One of his works, published under the name Akash Narayan, is titled "Three Times at Dawn," not so coincidentally the name of Baricco's second novella. Though slighter, in some ways, this story is even more complex, for it focuses on three separate episodes revolving around a seedy hotel. In the first, Malcolm Webster meets a mysterious and seductive woman in his hotel room, while in the second, a young woman flirts with the hotel clerk (perhaps an older Malcolm Webster) as she tries to get some perspective on her relationship with her boyfriend up in their room. In the final section, a teenager, the younger Malcolm Webster, escapes from the squalor of the hotel with a woman detective as he deals with his dysfunctional family.
Although the events he recounts remain cryptic, Baricco’s style is lucid, and the appearance-versus-reality mind games he plays with his readers are fascinating.Pub Date: July 15, 2014
ISBN: 978-1-938073-96-0
Page Count: 280
Publisher: McSweeney’s
Review Posted Online: May 20, 2014
Kirkus Reviews Issue: June 1, 2014
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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