Intelligent, tough-minded and surprisingly tender: a portrait of Africa that both convinces and provokes.
Another scathingly funny look at the bizarre social and psychological landscape of his native South Africa from Whitbread winner and Booker short-listee Hope (Darkest England, 1996, etc.).
The central, towering figure is Kathleen Healey, a pilot and big-game hunter born shortly after World War I who swaggers across Africa with the panache of the colonizing generation that took the continent as its personal playground. She won’t even tell her son Alex, the novel’s narrator, who his father is. Maintaining idiosyncratic friendships with everyone from an Afrikaner secret policeman to the Rain Queen of the Lebalola people, Kathleen is equally out of place in the race-obsessed South Africa run by religious bigots and in the post-apartheid nation racked by crime and AIDS. She’s magnificently clueless about everything except her own pleasures and the people she chooses to love, though her swashbuckling resume of her beloved Johannesburg’s past (“We don’t have a history, really…Just a police record.”) nails the wide-open frontier town where her father made his fortune laying dynamite in gold mines. Quiet, uneasy Alex takes a less romantic view of their homeland, seeing it as a place of cruelty and malevolent fantasy, where white people once imagined themselves the lords of the universe and black politicians now play the same corrupt power games as those they displaced. He just wants to get away from it all, selling air-conditioning units all over the Far East, until his mother’s death brings him home for a reckoning with her and the “lovers” (not all of them male sexual partners) to whom she’s made a few pointed bequests for Alex to execute. Hope paints a broad canvas teeming with vigorous characters; his political commentary is fresh, biting and deeply cynical. The moving final pages show Alex still in thrall to the magic of Africa and his mother, decry their lies and failures though he may.
Intelligent, tough-minded and surprisingly tender: a portrait of Africa that both convinces and provokes.Pub Date: Aug. 1, 2007
ISBN: 978-0-8021-1850-9
Page Count: 448
Publisher: Grove
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2007
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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