Though sacrificing depth and credibility for speed, Shreve’s sixth (The Weight of Water, 1997, etc.) is another suspenseful portrait of a modern marriage rent by betrayal and loss. After her pilot husband’s plane blows up off the coast of Ireland, Kathryn discovers bit by bit how little she knew Jack Lyons. First, she faces a media frenzy when the flight recorder makes clear that Jack was carrying a bomb in his flight bag. Her illusions of a her so-called good marriage crumble, despite her belief in the love she and Jack had and the need to keep Jack’s memory pure for teenage daughter Mattie. As she navigates the dark days with the priest-like assistance of Robert, the pilot union’s grievance expert, Kathryn increasingly feels compelled to come to grips with Jack’s hidden life. Following up on a phone number she discovers among his papers, she and Robert go to London, where she finds Jack’s other family: Muire, an unrepentant Irish beauty and former flight attendant, and her two young children. By now the plot is fairly screaming IRA bombers!, but instead of guns and M15 surveillance teams we get Kathryn’s long, sad walk in the rain and an attempt at consolation by a now-doting Robert. The next morning, Kathryn, still lagging two beats behind the reader, has the whole thing explained to her at breakfast by a remorseful Muire, who’s now forced to go on the run. Then Kathryn’s staggered by Robert’s revelation that he didn’t come along just to keep her company—but that he’s part of the investigation (though he makes no move to detain Muire). Kathryn sulks, but by story’s end Robert is back in her good graces, his seeming betrayal well on its way to being forgotten. An evocative but obvious thriller, rather like a domesticated Patricia Highsmith, that keeps you reading—even as you’re regretting the opportunities for intrigue and angst that the narrative consistently ignores.
Pub Date: May 1, 1998
ISBN: 0-316-78908-9
Page Count: 320
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1998
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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