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DAYS OF DISTRACTION

Name: DAYS OF DISTRACTION
Author: Alexandra Chang
ISBN: 978-0-06-295180-9

by Alexandra Chang ‧ RELEASE DATE: March 31, 2020

Beautifully crafted and deeply thoughtful.

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A coming-of-age tale for the 21st century.

“People think I’m smaller than I am.” This is the opening sentence of Chang's debut and—as the reader soon learns—a sly summation of the novel as a whole. A first-generation American and the daughter of Chinese parents, the unnamed narrator finds that people frequently see in her what they expect rather than what she is. But, more often than not, she shrinks herself to fit these misperceptions. She stays silent when her boyfriend, J, calls her his “little sweetheart.” She gives up trying to teach J how to pronounce the family nickname that he insists on using. At work—a tech publication—she chooses not to press the point when her superiors refuse to seriously discuss giving her a raise when she discovers that she’s earning less than all of her colleagues. Even in a world in which social media lets ordinary people become extraordinary, the protagonist asserts that she is quite simply ordinary—a consumer of other peoples’ lives, not the creator of one. J’s decision to enter a graduate program in upstate New York gives her the chance to leave the high-pressure microcosm of San Francisco and start again. Chang has won acclaim for her short stories, and, stylistically, her debut novel can be seen as a collection of linked microfictions. The text is composed of brief vignettes and the narrative is discursive, but this does not mean that the story feels choppy or disjointed. Instead, the novel's form encourages the reader to slow down, think about what they’ve just read, and figure out for themselves how the pieces fit together. The narrator’s meditations on themes like racism, capitalism, the role of technology in our lives, and complicated family relationships are simultaneously uniquely insightful and accessible to anyone who has grappled with these issues themselves.

Beautifully crafted and deeply thoughtful.

Pub Date: March 31, 2020

ISBN: 978-0-06-295180-9

Page Count: 336

Publisher: Ecco/HarperCollins

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

Categories:

LITERARY FICTION

- AWARDS
The National Book Foundation Honors ‘5 Under 35’

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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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

Categories:

LITERARY FICTION

- BOOK REVIEW
THE LITTLE BLUE KITE
by Mark Z. Danielewski

- BOOK REVIEW
HADES
by Mark Z. Danielewski

- BOOK REVIEW
HONEYSUCKLE & PAIN
by Mark Z. Danielewski

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.