ECHOES OF A DISTANT SUMMER

There is good and there is evil. Jackson Tremain will identify one from the other, and right the wrong, stirring an...

A carefully plotted mob thriller that will leave its readers faintly exhilarated, though also unable to remember who exactly was good and bad—yet not particularly disappointed by that fact.

Jackson Tremain ably takes up where his grandfather and family patriarch King left off, incorporating perhaps a touch more ennui to the still burgeoning Tremain litany of blood, mayhem, and intrigue. Johnson’s follow-up features the ailing hero, King, of his first novel (Standing at the Scratch Line, 1998) in a cameo role, albeit one that demonstrates a Wizard of Oz–like ability to predict his estranged grandson’s awakening. Tremain, a young, African-American city manager, must find the guts to escape the emasculating perils of bureaucracy and summon up the wherewithal to protect his grandfather’s legacy. He escapes the bonds of mediocrity, and, rest assured, battles nobly, facing off against a variety of colorful, immoral louts. The story is set mainly in the summer of 1982, with background information incorporated through a series of flashbacks from the ’50s and the ’60s that feature vignettes from Tremain’s summers at his grandfather’s side. The younger man is aided in his epic quest for personal and familial salvation by an astonishingly loyal group of friends and acquaintances, some having been steeped in Tremain family struggles for 50 years, others merely innocent by-standers roused into Rambo-like righteous indignation. It seems, in fact, that the entire law-abiding Oakland community will rise up and defend one of their own when threatened by such obviously malignant forces. With a panoply of bars, trendy restaurants, dusty Mexican towns and city streets, Johnson has created an intricate page turner that lacks any pretense of moral or ethical complexity.

There is good and there is evil. Jackson Tremain will identify one from the other, and right the wrong, stirring an expectant reader’s heartbeat along the way.

Pub Date: Aug. 27, 2002

ISBN: 0-375-50567-9

Page Count: 784

Publisher: Random House

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: July 1, 2002

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THE SECRET HISTORY

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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HOUSE OF LEAVES

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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