by Ariel Schrag ‧ RELEASE DATE: June 10, 2014
A well-composed story about love and lust in all their myriad variations and about a boy finding his place in a mixed-up,...
An emotionally mature, socially tongue-tied and sexually anxious teenage boy abandons the comforts of suburbia for a walk on the wild side in LGBT New York.
Best known for mining her own adolescence in her trilogy of graphic memoirs, here Schrag (Potential, 2008, etc.) paints a lush picture of the queer scene in Brooklyn circa 2006 through the eyes of an unusually straight-laced protagonist. Her muse is the lesbian side of New York’s gay subculture, but choosing a shy, awkward teen boy as the portal into the underground was a bold choice. After being ditched for a girl by his best friend, Adam Freedman opts to stay with his closeted gay sister, Casey, in a dingy apartment for the summer, along with her butch roommate, June, and their Craigslist-acquired flatmate, Ethan. Floating along in Casey’s wake, Adam learns to navigate the weird wonderland of New York and gets to see a side of the city most boys who like girls don’t get to experience, along with the high drama of any tightly woven, politically active and sexually volatile scene. At one of many parties, Adam meets one of those girls who stop your heart, a redheaded goddess named Gillian who immediately takes a shine to him. This being a romantic comedy set in a supposedly post-gender metropolis, naturally the meet-cute couple experiences a few bumps in the road, namely that Gillian identifies as a lesbian and believes Adam is a trans boy, with lady parts instead of his constantly raging erection. Sensitive readers should know there are some raunchy bits here and there, with many variations of boot-knocking and a bawdy visit to an underground sex club. It all sounds very progressive, but the talented Schrag’s gifts for characterization and dialogue make the whole enterprise sweetly entertaining.
A well-composed story about love and lust in all their myriad variations and about a boy finding his place in a mixed-up, muddled-up, shook-up world.Pub Date: June 10, 2014
ISBN: 978-0-544-14293-0
Page Count: 320
Publisher: Mariner/Houghton Mifflin Harcourt
Review Posted Online: March 28, 2014
Kirkus Reviews Issue: April 15, 2014
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by Ariel Schrag & illustrated by Ariel Schrag
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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