A gorgeous account of a man’s struggle to reckon with the life he’s lived and the lives he hasn’t.
Starnone’s latest novel describes a man’s visit with his grandson.
A new book from Starnone (Ties, 2017, etc.) is an event to celebrate. An exquisite Italian writer believed to be Elena Ferrante’s husband, he writes slim, elegant, meticulously crafted novels—and this is his best yet. An older man, an illustrator, comes from Milan, where he is currently living, to Naples, where he grew up, to look after his grandson while his daughter and son-in-law attend an academic conference. Mario, the 4-year-old, knows all kinds of things, like how to turn on the stove, how to set the table, and how to change channels on the TV. He’s annoying, in the way that 4-year-old know-it-alls are annoying. Meanwhile, his grandfather, whose health is no longer great and who no longer remembers exactly where he put the phone or whether he closed the balcony door, is struggling to complete the illustrations for “The Jolly Corner,” a Henry James story. In that story, a man returns to his childhood home after a long period of time away and becomes obsessed with the idea of who he might have been, what life he might have led, if he’d stayed. He’s desperate to catch sight of his own ghost. Starnone’s novel echoes James’ story but it also works entirely independently. Mario’s grandpa has ghosts of his own to confront. All the novel’s action occurs over the course of a few days. During that time, our elderly illustrator comes to doubt himself, his life, his achievements. He argues with Mario, and he tries to draw. Deceptively simple, the novel is also witty to the point of hilarity (see Mario’s argument with his grandpa about cartoons) and achingly moving.
A gorgeous account of a man’s struggle to reckon with the life he’s lived and the lives he hasn’t.Pub Date: March 6, 2018
ISBN: 978-1-60945-444-9
Page Count: 192
Publisher: Europa Editions
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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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