by Gao Xingjian ‧ RELEASE DATE: Sept. 6, 2002
Unless Gao’s internationally acclaimed plays are a lot better than his fiction, it’s hard to understand why this writer was...
The experiences of a dissident artist-intellectual who finds himself in an adversary relationship with Mao’s Cultural Revolution are once again examined—if not consistently dramatized—by the Chinese Nobel laureate (Soul Mountain, 2000).
Like that later autobiographical novel, this one (originally published in 1997) is a collage whose unnamed narrator describes at sometimes numbing length his provincial childhood and youth, confusion of familial and political allegiances, career as a successful (if increasingly suspect) writer and artist, and relationships with many, many women, whom he seems to captivate, seduce, and satisfy without half trying. The narrative begins wonderfully, with luminously detailed reminiscences of his tenth birthday party: an idyllic, centered watershed moment in a life soon thereafter to be characterized by fractured relationships and ceaseless wandering. The declared intention, “to describe in simple language the terrible contamination of a life by politics,” is both realized and occluded by its odd organization—as a story told by him to Margarethe, the German woman who becomes his lover during a period of self-exile in Hong Kong, which employs second-person direct address to himself while he is thus (and elsewhere) exiled, and omniscient narration to describe his past in China. The story is valuable for its vivid piecemeal picture of 20th-century China’s culture of revisionist egoism, paranoia, and repression, especially in segments that focus on the imperiled activities of a “rebel Red Guard group” of which the narrator is a leader. And there is admirable dramatic intensity in the stories of Qian, a fugitive woman met by chance who impulsively (and unwisely) marries the narrator, and Sun Huirong, a naïve village girl who is raped, disbelieved, and summarily condemned to “re-education.” Otherwise, alas, One Man’s Bible is repetitive, discursive, and declamatory to a degree that leaches away far too much of the drama inherent in its content.
Unless Gao’s internationally acclaimed plays are a lot better than his fiction, it’s hard to understand why this writer was awarded a Nobel Prize.Pub Date: Sept. 6, 2002
ISBN: 0-06-621132-8
Page Count: 464
Publisher: HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 2002
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by Gao Xingjian & translated by Mabel Lee
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by Gao Xingjian & translated by Mabel Lee
by Claire Lombardo ‧ RELEASE DATE: June 25, 2019
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
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SEEN & HEARD
by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000
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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