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EVIE OF THE DEEPTHORN

A book intent on rendering isolation which suffers from an excess of experimental overlay.

Three strangers in a rural Canadian town intersect in complex ways through the nexus of a mysterious piece of art.

Kent is a disaffected teenager growing up in the small Canadian town of Durham. His father is gone, his mother is emotionally absent, his brother died a few years ago under circumstances Kent will not talk about. When Kent is asked by a teacher to submit his documentary project to a contest—the prize for which could mean his ticket out of Durham—he's torn between his desire to create something like his favorite cult movie, Evie of the Deepthorn, and his desire to protect himself with slacker anonymity. Sarah—from whose perspective the second section is narrated—is a painfully awkward teen afflicted with virulent acne and an unpredictable temper. She only feels like herself when she's working on her magnum opus, Evie of the Deepthorn, a fantasy novel she's been writing since childhood. After her father’s death, Sarah burns the manuscript only to return to Durham 10 years later to the same secluded clearing where she buried the ashes. There she meets a young man she dimly recognizes from high school, who turns out to be Kent Adler, author of a book of poems she admires. In the midst of her own existential crisis, she forms an immediate bond with Adler that is as powerful as it is brief and sets her life on a new course. Some years later, Reza—the narrator of the third section—comes to Durham to visit the grave of acclaimed poet Kent Adler, who committed suicide in the neighborhood woods in 1976. In the aftermath of a bad breakup Reza is seeking the sort of elegiac clarity he finds in his favorite Adler poem, “Evie of the Deepthorn.” With the help of Sarah, now a clerk at a local real estate agent’s office, Reza finds Adler’s grave but discovers nothing of the spiritual balm he had expected there. Babyn’s debut novel has moments of deeply affecting writing and captures the emotional void of depression and the fear that trembles alongside desire with a deft touch. However, the convolutions of the story—which shuffles the details of the characters’ lives from section to section with deliberate contradictory intent—distract from the human truth at the heart of the novel. The unfortunate result is a book more akin to a failed parlor trick than a lingering expression of grief or faith in renewal.

A book intent on rendering isolation which suffers from an excess of experimental overlay.

Pub Date: March 3, 2020

ISBN: 978-1-4597-4557-5

Page Count: 328

Publisher: Dundurn

Review Posted Online: Dec. 8, 2019

Kirkus Reviews Issue: Jan. 1, 2020

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HOUSE OF LEAVES

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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THE SECRET HISTORY

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.

Pub Date: Sept. 16, 1992

ISBN: 1400031702

Page Count: 592

Publisher: Knopf

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 1992

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