by Helen Sedgwick ‧ RELEASE DATE: Oct. 11, 2016
Unlike shooting stars, Sedgwick’s yearning protagonists seem unable or unwilling to “shower the world with light.”
Haunted characters struggle to find fulfillment.
In her ambitious but flawed debut novel, journalist, editor, and former research physicist Sedgwick leaps through time, from 1066 to the present, following the trajectories of her characters’ lives as various comets surge gloriously through the night skies. She focuses on four main characters: cousins Róisín and Liam are star-crossed lovers both because of their consanguinity and their unbridgeable differences. Róisín, an astronomer, wants to travel the world researching the cosmos; Liam is committed to staying on his family’s farm. The second pair is a mother and son, Severine and François. Even as a child, François longed to explore far-off places, from South American jungles to Antarctica’s “wild emptiness”; but Severine will not leave their native Bayeux, France, because she is surrounded there by 11 ghosts from her family’s long past. These ghosts are the novel’s liveliest characters: playful, teasing, and so comforting that Severine cannot live without them; they are more crucial to her than François. “Why should she have to choose,” she asks herself, “between her ghosts and her son?” Among the ghosts, Severine is especially attached to her grandmother, “who everyone thought was crazy, who made the world come alive, whose smile made Severine feel special, and loved.” Because Granny’s ghost treats her like a child, Severine seems infantilized—or, maybe, crazy. François can hardly make sense of his strange mother. Rather than allowing her characters to evolve, Sedgwick belabors their predicaments in chapter after chapter. The image of shooting stars suggests a theme: as Róisín explains, “All those stars we see...they’re dead already. They have exploded, rejected everything that they were, and the raw components, the elements they were made of, that is where life comes from.” But this idea of transformation is only barely hinted at, and, except for Severine, the characters persist in sadness.
Unlike shooting stars, Sedgwick’s yearning protagonists seem unable or unwilling to “shower the world with light.”Pub Date: Oct. 11, 2016
ISBN: 978-0-06-244876-7
Page Count: 304
Publisher: Harper/HarperCollins
Review Posted Online: July 18, 2016
Kirkus Reviews Issue: Aug. 1, 2016
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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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