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While the intensity of Dupont’s prose can be maddening, the sweet, sour, and salty world he creates is thoroughly addictive.

French Canadian Dupont’s bruiser of a novel begins as a traditional family saga set in a small, early-20th-century Quebec village before swerving into new, less linear, and more psychologically demanding territory.

Born in 1918 and almost immediately orphaned, larger-than-life figure Louis Lamontagne grows up with his grandmother Madeleine, a powerhouse herself, in Rivière-du-Loup. The names Louis and Madeleine will recur among other characters, as will a birthmark shaped like a bass clef and blue eyes in a particular shade of teal. Louis’ nickname, "The Horse,” is his alone, however, derived from his mythic strength. Womanizing, storytelling Louis’ life is by turns rollicking and tragic. He evolves from a charismatic, beloved boy to a witness to World War II atrocities to an alcoholic funeral director after his youngest son dies in a tragic accident. His middle child, Madeleine, eventually takes center stage. As a pregnant, unmarried teenager, she moves to Quebec City in the 1960s and opens a diner that she expands into a hugely successful chain while raising twin sons, Michel and Gabe. This first half of the novel, chock full of digressive stories about seemingly minor characters, has a rambling, overstuffed, 19th-century feel. But then, more than 250 pages in, Dupont shifts gears; the novel narrows and becomes epistolary. In 1999, Gabe, on a hopeless romantic quest in Germany, and Michel, an opera singer making a controversial film version of Tosca in Rome, begin a correspondence expressing their ambivalence toward each other and their conflicting views of their mother. Meanwhile, Gabe meets an elderly German woman with a convoluted story she shares in notebooks that take Gabe and the reader in unexpected directions. Everyone’s version of events differs here; there’s no trusting who’s hero, victim, or villain—or what’s real; parallels accumulate; every casually mentioned detail becomes important as truths are revealed.

While the intensity of Dupont’s prose can be maddening, the sweet, sour, and salty world he creates is thoroughly addictive.

Pub Date: Feb. 11, 2020

ISBN: 978-0-06-294745-1

Page Count: 608

Publisher: HarperVia

Review Posted Online: Nov. 10, 2019

Kirkus Reviews Issue: Dec. 1, 2019

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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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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

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