Although centered on a violent murder/suicide that takes place early on, this is essentially a meditative, multi-voiced examination of the guilts, prides and lonely accommodations to social class and family myth-making—matters also addressed in A Mother and Two Daughters (1982)—among members of an unhappy North Carolina family immobilized under "layer upon layer of debilitating resentments and intrigues." "It's like being inside a drama in which good influences and bad influences are being played out. . .it's impossible. . .to affix blame," comments urbane Felix, musing on the family of his lover, 40-ish Clare. What caused 28-year-old Theo Quick—a failure in both career and marriage, and father of young Jason—to shoot to death his girlfriend while her child watched, and then kill himself?. Each member of the grieving Quick family, Clare's childhood friend Julia, and Theo's divorced wife, the "hillbilly" Snow, bear their bewildered grief into the dark comers of their recent histories. Theo's father, Ralph, a selfmade man now bankrupt and disillusioned, from a "middling" background, too late tries to redeem the son he'd locked out. Ralph's wife Lily, self-elevated from husband and children, realizes—also too late—that it was Theo, rather than son Rare, she'd "trusted most to love her." Rare, in therapy, painfully calls to mind Theo's "flirting with the idea of his self-destruction." Meanwhile, plain-spoken Snow, who will win a custody battle for Jason, and who shares with Lily (they despise one another) a "secretive separateness" from family, sees a Theo plain, stripped of the caul of the family—yet aches for the essential good man who was buried-in-life. Clare (successful novelist and Lily's daughter by a first marriage), Julia, and Felix attempt to weigh the influences of class and origins on the Southern family, and shade in the portrait of Theo that is never complete—an echo of Theo's criticism of Clare's work: she should write something "that can never be wrapped up." A "slow march" (Clare's expression) of meditations in voices that sound somewhat similar (except for Snow's tangier diction), brightened by Godwin's acute sense of people paralyzed by circumstances—this is thoughtful chipping away at one family's crystalline certainties and disparate dreams.
Pub Date: Oct. 2, 1987
ISBN: 0380729873
Page Count: 548
Publisher: Morrow/HarperCollins
Review Posted Online: Sept. 24, 2011
Kirkus Reviews Issue: Sept. 15, 1987
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
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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