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BACK TALK

Name: BACK TALK
Author: Danielle Lazarin
ISBN: 978-0-14-313147-2

by Danielle Lazarin ‧ RELEASE DATE: Feb. 6, 2018

Sensitive, intricate, and quietly powerful, Lazarin’s stories give voice to women learning to live on their own terms.

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This exquisite debut short story collection speaks to the ways women and girls define themselves and delineate their paths.

A teenage girl acclimating to her mother’s death and its effect on her family leaps into the bracing waters of first love. A woman absorbing the end of her marriage forges a friendship with the woman next door whose choices and losses shed light on her own. Another young woman takes in a boyfriend’s departure by connecting with a stranger and taking stock of the things her ex has taught her, the bits of knowledge he has left behind, and the aspects of herself that remain. A teenager and the widower whose young children she babysits connect across the empty space his wife has left behind. The protagonists of Lazarin’s stories—daughters, mothers, siblings, girlfriends, wives—are gauging their strengths and soft spots, the ways in which they are independent and intertwined with those around them, their appetites for and aversions to risk and heartache, the truths they choose to know and those they cannot escape. These young women and girls—many of them white, middle-class New Yorkers, some living in the city, others outside of it—have their own particular interests and quirks, their own experiences and inclinations, their own losses and hopes with which to contend. Yet readers may see in them glimpses of their own stories and struggles, their own choices about how and when to act. “It’s my hope that this book adds to a conversation about the importance of women’s stories, of the domestic, of the subtle and often unspoken ways women care for each other and ourselves,” Lazarin writes in the advance galley of the book. Mission accomplished.

Sensitive, intricate, and quietly powerful, Lazarin’s stories give voice to women learning to live on their own terms.

Pub Date: Feb. 6, 2018

ISBN: 978-0-14-313147-2

Page Count: 256

Publisher: Penguin

Review Posted Online: Dec. 23, 2017

Kirkus Reviews Issue: Jan. 15, 2018

Categories:

LITERARY FICTION | SHORT STORIES

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HOUSE OF LEAVES

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...

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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

Categories:

LITERARY FICTION

- BOOK REVIEW
THE LITTLE BLUE KITE
by Mark Z. Danielewski

- BOOK REVIEW
HADES
by Mark Z. Danielewski

- BOOK REVIEW
HONEYSUCKLE & PAIN
by Mark Z. Danielewski

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.