by Anita Brookner ‧ RELEASE DATE: Jan. 10, 2006
At one point, Emma has a dream in which she knows “simply and conclusively, that I was loved.” Nothing in waking life...
A lusterless grad student of landscape-gardening trembles on the brink of taking an interest in life.
Narrow, reticent, self-contained—these words describe almost any Brookner heroine. They certainly fit Emma Roberts, who sums up her meager origins by saying, “we were a very small, not to say non-existent, family.” That family is comprised solely of Emma and her widowed mother. “If I was not extremely vigilant,” Emma notes, “I might run the risk of living her life over again.” Emma’s Uncle Rob is the quintessential Brooknerian Other. Rude and assertive, he detested Emma’s long-dead father and openly dislikes her on the basis of her paternity. Before his certitude, Emma and her mother simply ebb away to nothing. When Emma goes to France to research her thesis, she is befriended by a young library assistant named Françoise. Unlike Emma, Françoise is active, aggressive and highly sexed. She invites Emma home to her family’s country house and manipulates Emma, to her own advantage. Emma seems to take pleasure in allowing her to do so, in part so the full measure of Françoise’s character, or lack of it, will be revealed, but also because even a vicarious life is better than nothing. Emma manifests the same lack of energy in her dealings with men. And because both of the men she knows seem as spiritless as she, these relationships have all the fire of a blaze kindled from a single match and a damp log. Although Emma deplores her purposeless solitude, she works to maintain it and thinks disdainfully that she “prefers her gardens deserted.” The beautifully ordered prose of Brookner’s 23rd novel (Making Things Better, 2003, etc.) is the verbal equivalent of the empty gardens Emma inhabits.
At one point, Emma has a dream in which she knows “simply and conclusively, that I was loved.” Nothing in waking life affords her, or us, a comparable satisfaction.Pub Date: Jan. 10, 2006
ISBN: 1-4000-6414-7
Page Count: 224
Publisher: Random House
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Nov. 1, 2005
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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...
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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