McKenzie’s idiosyncratic love story scampers along on a wonderfully zig-zaggy path, dashing and darting in delightfully...
On the brink of her marriage, a charmingly quirky, unassumingly intelligent, and winningly warmhearted young woman forges an unusually strong bond with a squirrel.
It’s easy to understand why everyone in Veblen Amundsen-Hovda’s life adores and depends on her. The heroine of McKenzie’s (MacGregor Tells the World, 2007, etc.) disarmingly offbeat novel is the sort of person who not only sews her own clothes and fixes up her own tumbledown bungalow (in ultrapricey Palo Alto, California), but supports herself working temp jobs while performing the unappreciated yet worthy task of translating texts from Norwegian, especially those pertaining to maverick economist, anti-materialist, and leisure-class critic Thorstein Veblen, after whom she was named. Veblen—whom the author describes as an “independent behaviorist, experienced cheerer-upper, and freelance self”—has just gotten engaged to Paul Vreeland, an equally charming yet outwardly more conventional young neurologist, whose academic research has led to a device that's captured the attention of industry and the Department of Defense. Paul and Veblen are in love, betrothed, and planning their wedding and life together, but Paul is tempted by the kind of “conspicuous consumption” Veblen’s economist namesake and hero railed against. Meanwhile, Veblen’s heart has been stolen by a squirrel, who she suspects understands her in a way no one else may. Paul is struggling to calibrate his ethical compass—and to come to terms with his issues surrounding his hippy parents and his intellectually disabled brother, Justin. Veblen is laboring to free herself from the demands of her narcissistic, hypochondriacal mother (not to mention the mentally unstable father who was mostly absent from her childhood) and stake her claim to her own healthy identity and future. Will these kind, if somewhat confused, young people find their ways out of the past and to each other and a happy shared future? The reader can’t help rooting them on.
McKenzie’s idiosyncratic love story scampers along on a wonderfully zig-zaggy path, dashing and darting in delightfully unexpected directions as it progresses toward its satisfying end and scattering tasty literary passages like nuts along the way.Pub Date: Jan. 19, 2016
ISBN: 978-1-59420-685-6
Page Count: 448
Publisher: Penguin Press
Review Posted Online: Oct. 27, 2015
Kirkus Reviews Issue: Nov. 15, 2015
BOOK REVIEW
BOOK REVIEW
PROFILES
PERSPECTIVES
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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