Dorn may have written the horror novel we deserve.
In Dorn’s pulse-quickening debut novel, an LA lawyer–turned-rapper finds herself thrust into the spotlight and its attendant chaos.
“I’m a Virgo so I don’t take perfection lightly,” exclaims 30-year-old Prue Van Teesen, the misguided heroine of Dorn’s story. Living in Los Angeles—a sun-bleached land of egos, fame, and vanity—doesn’t make things easier. In pursuit of a more meaningful life, Prue decides to quit her antidepressants cold turkey, take a pause from her law profession, and instead focus on what matters: turning her talent for spitting lyrics into a rap career and “thriving.” When Prue’s girlfriend introduces her to music producer Jax Jameson, a human disco ball of manic talent and cocaine-fueled good times, they instantly “vibe,” and she’s soon enmeshed in his “Kingdom” of so-called creatives. During what feels like a fever dream of Adderall and various uppers, Prue records her first song under the stage name Vagablonde, starts a rap group called Shiny AF, and makes a number of ethically dubious decisions—like letting one of her law clients join the never-ending party. As Shiny AF catapults to stardom, Prue spins out of control, losing not just her girlfriend in the process, but herself as well. A tumultuous ride of emotional highs and lows (do yourself a favor and don’t read this in one sitting), Dorn’s narrative is intoxicating, particularly in its depiction of the existential ennui that’s stemmed from our insatiable consumer culture. In a music scene where self-commodification and virality reign, Prue’s validation no longer comes from her peers, but instead from her growing internet presence. Every morning she repeatedly refreshes her Twitter homepage, each time to more followers, feeling less in touch with the world the higher she rises.
Dorn may have written the horror novel we deserve.Pub Date: May 26, 2020
ISBN: 978-1-951213-00-8
Page Count: -
Publisher: Unnamed Press
Review Posted Online: March 1, 2020
The phrase “tour de force” could have been invented for this audacious novel.
Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives.
Yanagihara (The People in the Trees, 2013) takes the still-bold leap of writing about characters who don’t share her background; in addition to being male, JB is African-American, Malcolm has a black father and white mother, Willem is white, and “Jude’s race was undetermined”—deserted at birth, he was raised in a monastery and had an unspeakably traumatic childhood that’s revealed slowly over the course of the book. Two of them are gay, one straight and one bisexual. There isn’t a single significant female character, and for a long novel, there isn’t much plot. There aren’t even many markers of what’s happening in the outside world; Jude moves to a loft in SoHo as a young man, but we don’t see the neighborhood change from gritty artists’ enclave to glitzy tourist destination. What we get instead is an intensely interior look at the friends’ psyches and relationships, and it’s utterly enthralling. The four men think about work and creativity and success and failure; they cook for each other, compete with each other and jostle for each other’s affection. JB bases his entire artistic career on painting portraits of his friends, while Malcolm takes care of them by designing their apartments and houses. When Jude, as an adult, is adopted by his favorite Harvard law professor, his friends join him for Thanksgiving in Cambridge every year. And when Willem becomes a movie star, they all bask in his glow. Eventually, the tone darkens and the story narrows to focus on Jude as the pain of his past cuts deep into his carefully constructed life.
The phrase “tour de force” could have been invented for this audacious novel.Pub Date: March 10, 2015
ISBN: 978-0-385-53925-8
Page Count: 720
Publisher: Doubleday
Review Posted Online: Dec. 21, 2014
Kirkus Reviews Issue: Jan. 1, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
Suspenseful, full of incident, and not obviously necessary.
Atwood goes back to Gilead.
The Handmaid’s Tale (1985), consistently regarded as a masterpiece of 20th-century literature, has gained new attention in recent years with the success of the Hulu series as well as fresh appreciation from readers who feel like this story has new relevance in America’s current political climate. Atwood herself has spoken about how news headlines have made her dystopian fiction seem eerily plausible, and it’s not difficult to imagine her wanting to revisit Gilead as the TV show has sped past where her narrative ended. Like the novel that preceded it, this sequel is presented as found documents—first-person accounts of life inside a misogynistic theocracy from three informants. There is Agnes Jemima, a girl who rejects the marriage her family arranges for her but still has faith in God and Gilead. There’s Daisy, who learns on her 16th birthday that her whole life has been a lie. And there's Aunt Lydia, the woman responsible for turning women into Handmaids. This approach gives readers insight into different aspects of life inside and outside Gilead, but it also leads to a book that sometimes feels overstuffed. The Handmaid’s Tale combined exquisite lyricism with a powerful sense of urgency, as if a thoughtful, perceptive woman was racing against time to give witness to her experience. That narrator hinted at more than she said; Atwood seemed to trust readers to fill in the gaps. This dynamic created an atmosphere of intimacy. However curious we might be about Gilead and the resistance operating outside that country, what we learn here is that what Atwood left unsaid in the first novel generated more horror and outrage than explicit detail can. And the more we get to know Agnes, Daisy, and Aunt Lydia, the less convincing they become. It’s hard, of course, to compete with a beloved classic, so maybe the best way to read this new book is to forget about The Handmaid’s Tale and enjoy it as an artful feminist thriller.
Suspenseful, full of incident, and not obviously necessary.Pub Date: Sept. 10, 2019
ISBN: 978-0-385-54378-1
Page Count: 432
Publisher: Nan A. Talese
Review Posted Online: Sept. 3, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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