Fans of crime fiction will delight in this marriage of knowing aestheticism and old-fashioned mayhem.
André Aciman meets Patricia Highsmith in this satisfying exercise in literary crime.
“No mythical city should be judged by its airport.” So we read as 25-year-old Nicholas Brink, an Ohioan by way of New York, lands in Venice in a “Gobi of concrete.” Nick is cut out for finer things, and he has come to Venice to take his part in a con game of his own devising. Bollen (The Destroyers, 2017, etc.) skillfully lets the details out bit by bit: We learn on one page that he has a boyfriend, Clay Guillory, on another that Clay is an Italian speaker who knows Venice well, on still another that Clay is an African American who, Nick hopes, will find the city of Othello less ethnically fraught than a white America that sees Clay “as a blur of black skin.” The crime is delicious, a sale of counterfeit antiques to an American expat who has more money than he knows what to do with. As must happen in stories of this sort, mistakes are made, and Nick, who presents himself as the affable good guy, gets greedy—and, Clay protests, “Getting greedy is what will get us into trouble.” Instead of selling a bunch of old silver and such, Nick wants to sell a whole palazzo that only partly belongs to Clay by virtue of a friendship with a now-deceased bohemian artist—only partly, the rest being tied up in a family squabble of epically Venetian proportions. Cons turn into countercons as a private investigator–cum-strongman turns up, and when that happens, Bollen’s relatively gentle game of cat and mouse takes a bloody turn that’s not entirely unexpected. Clay’s warning to Nick turns out to be exactly right, as Nick sheds any vestigial boyishness in the course of a would-be swindle that goes exactly wrong.
Fans of crime fiction will delight in this marriage of knowing aestheticism and old-fashioned mayhem.Pub Date: Jan. 28, 2020
ISBN: 978-0-06-285388-2
Page Count: 400
Publisher: Harper/HarperCollins
Review Posted Online: Oct. 13, 2019
Kirkus Reviews Issue: Nov. 1, 2019
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
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s...
The acclaimed author of The Underground Railroad (2016) follows up with a leaner, meaner saga of Deep South captivity set in the mid-20th century and fraught with horrors more chilling for being based on true-life atrocities.
Elwood Curtis is a law-abiding, teenage paragon of rectitude, an avid reader of encyclopedias and after-school worker diligently overcoming hardships that come from being abandoned by his parents and growing up black and poor in segregated Tallahassee, Florida. It’s the early 1960s, and Elwood can feel changes coming every time he listens to an LP of his hero Martin Luther King Jr. sermonizing about breaking down racial barriers. But while hitchhiking to his first day of classes at a nearby black college, Elwood accepts a ride in what turns out to be a stolen car and is sentenced to the Nickel Academy, a juvenile reformatory that looks somewhat like the campus he’d almost attended but turns out to be a monstrously racist institution whose students, white and black alike, are brutally beaten, sexually abused, and used by the school’s two-faced officials to steal food and supplies. At first, Elwood thinks he can work his way past the arbitrary punishments and sadistic treatment (“I am stuck here, but I’ll make the best of it…and I’ll make it brief”). He befriends another black inmate, a street-wise kid he knows only as Turner, who has a different take on withstanding Nickel: “The key to in here is the same as surviving out there—you got to see how people act, and then you got to figure out how to get around them like an obstacle course.” And if you defy them, Turner warns, you’ll get taken “out back” and are never seen or heard from again. Both Elwood’s idealism and Turner’s cynicism entwine into an alliance that compels drastic action—and a shared destiny. There's something a tad more melodramatic in this book's conception (and resolution) than one expects from Whitehead, giving it a drugstore-paperback glossiness that enhances its blunt-edged impact.
Inspired by disclosures of a real-life Florida reform school’s long-standing corruption and abusive practices, Whitehead’s novel displays its author’s facility with violent imagery and his skill at weaving narrative strands into an ingenious if disquieting whole.Pub Date: July 16, 2019
ISBN: 978-0-385-53707-0
Page Count: 224
Publisher: Doubleday
Review Posted Online: Jan. 20, 2019
Kirkus Reviews Issue: Feb. 1, 2019
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