American literature suffered a serious loss with Johnson's death. These final stories underscore what we'll miss.
A posthumous collection of stories from Johnson (The Laughing Monsters, 2014), graceful and death-stalked as his work ever was.
Johnson (1949-2017) is best known for his writing about hard-luck cases—alcoholics, thieves, world-weary soldiers. But this final collection ranges up and down the class ladder; for Johnson, a sense of mortality and a struggle to make sense of our lives knew no demographic boundaries. In the title story, a successful adman nearing retirement offers a series of portraits of dead and disappeared acquaintances to reckon with questions of art, life, and integrity. “Strangler Bob” is a criminal’s account of life in a county jail that’s carried by its seriocomic tone (one fellow inmate recalls his wife and how “I sort of killed her a little bit”) until its knockout closing becomes prophetically biblical. Johnson had a great knack for finding and keeping a story’s narrative spine while writing about lives that are wildly swerving, a sensibility displayed at its best in “The Starlight on Idaho,” about a recovering alcoholic writing a series of letters that reveal his mercurial character and accidental poetry. (“I’ve got about a dozen hooks in my heart, I’m following the lines back to where they go.”) The two closing stories deal with writers whose brilliance and success haven’t guaranteed happiness: a poet in “Doppelgänger, Poltergeist” cultivates a mad and expensive conspiracy theory about Elvis Presley’s death, while an aging, ill writer in “Triumph Over the Grave” lives alone and is prone to hallucinations. Whether it’s a motivation to clean up or (more often) a prompt to think about the past, death is always Topic A for these characters. “It’s plain to you that at the time I write this, I’m not dead,” one narrator tells us. “But maybe by the time you read it.”
American literature suffered a serious loss with Johnson's death. These final stories underscore what we'll miss.Pub Date: Jan. 16, 2018
ISBN: 978-0-8129-8863-5
Page Count: 206
Publisher: Random House
Review Posted Online: Oct. 1, 2017
Kirkus Reviews Issue: Oct. 15, 2017
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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