DAMNED IF YOU DO

Name: DAMNED IF YOU DO
Author: Gordon Houghton
ISBN: 0-312-26288-4

by Gordon Houghton ‧ RELEASE DATE: July 1, 2000

Uneven, hectic, sometimes decidedly adolescent. Nonetheless, the author gets points for audacity, and for reinventing the...

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A brash and often gruesomely funny debut novel from England, offering the first-person testimony of a zombie.

The nameless narrator is the loser in a lottery held by the Four Horsemen of the Apocalypse (Death, Famine, Pestilence, and War) to find a successor to Hades, Death's assistant, who has been assassinated. Removed from his grave in Oxford, where he has been residing comfortably, if without much stimulation, for several years, our hero learns that he is to be given a tryout, lasting for one week, during which he'll accompany Death on his rounds. If he fails, he'll be sent back to his grave for good. Pythonesque slapstick abounds in subsequent developments. Despite their grisly looks, the Horsemen are more like squabbling career bureaucrats than supernatural figures. They've given up horses in favor of battered cars. They use computers to track their clients. They tend to blame each other when their assignments go wrong—as they often do. An attempt to release a new plague germ during a screening of (what else?) Bergman's The Seventh Seal fails, and Death greatly annoys the audience by laughing uproariously at his portrayal on screen. The Four Horsemen constantly try to outmaneuver each other and impress ‘The Chief,’ who is never seen and communicates only through terse memos. Over the course of his trial week, the narrator begins to recover his past: he was a private investigator, murdered by his lover's husband. Musings on his adoration of this woman, and on his otherwise unremarkable life, tend to be lengthy and tiresome. But his desperate scheme to quit the Horsemen and reenter life—which involves (of course) challenging Death to a chess match—is rather touching.

Uneven, hectic, sometimes decidedly adolescent. Nonetheless, the author gets points for audacity, and for reinventing the Four Horsemen as a perpetual vaudeville act.

Pub Date: July 1, 2000

ISBN: 0-312-26288-4

Page Count: 304

Publisher: Picador

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2000

Categories:

LITERARY FICTION

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HOUSE OF LEAVES

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...

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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

Categories:

LITERARY FICTION

- BOOK REVIEW
THE LITTLE BLUE KITE
by Mark Z. Danielewski

- BOOK REVIEW
HADES
by Mark Z. Danielewski

- BOOK REVIEW
HONEYSUCKLE & PAIN
by Mark Z. Danielewski

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.