The fallen priest is an old story, but newcomer York’s searing images mark her as a talent to watch.
Two devout Catholics, yielding to temptation, destroy three lives in this intermittently powerful first novel, a Canadian counterpart to Southern Gothic.
It’s June 1948 in Mercy, Manitoba, and Thomas Rose, the good-hearted butcher, is about to marry Mathilda Nickels, just turned 19. Mathilda spent her first nine years in an orphanage before being rescued by her aunt Vera, housekeeper to Mercy’s Catholic priest, who has just died. His replacement, Father August Day, marries the butcher and his bride. August is 26 but old in his ways and bathed in religious zeal, and that’s what captivates Mathilda, who shuns Thomas on their wedding night, pleading her period (a lie). When she confesses to the priest, all he can think is: Virgin! August knows all about the sins of the flesh. His loving mother Aggie was the town whore after her man had run off and she had to support herself and her son. Yet he cannot resist Mathilda’s advances and deflowers her in the sacristy, then immediately cuts off all contact. Mathilda becomes pregnant and, panic-stricken, offers herself at last to the long-suffering Thomas. Her panic returns as she is about to give birth: Who will the baby resemble? York tells this story of solitary souls driven to extremes in dozens of short takes, including glimpses of the town drunk, Castor, who lives hermit-like in a nearby bog and has truth-revealing visions. The wrenching climax will leave Mathilda and August dead and Thomas a broken man. But we’re not done. The novel’s final third jumps forward to 2003 in an overlong postscript about an encounter in the bog between Mary, Castor’s adopted daughter, and another clergyman, this time a slick, skirt-chasing evangelist, a far cry from the tormented August. These new characters have their problems, but the reader, powers of empathy depleted after that climax, will have little left over for them.
The fallen priest is an old story, but newcomer York’s searing images mark her as a talent to watch.Pub Date: Nov. 1, 2004
ISBN: 1-883285-25-9
Page Count: 336
Publisher: Delphinium
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Aug. 15, 2004
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.
Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.
Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.Pub Date: Sept. 19, 1952
ISBN: 0142004235
Page Count: 616
Publisher: Viking
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Sept. 1, 1952
BOOK TO SCREEN
BOOK TO SCREEN
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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