The people who connect with this debut novel are going to love it, and everyone else is going to roll their eyes and throw...
An intellectual writer wrestles with her infidelity, and her loss of interest in her husband, in the context of her Christianity.
“I imagine writing all this down and giving the manuscript to my agent…This has been done to death, she says. I won’t be able to sell this…So you see: There is no one left to whom I can confess. No one who will listen or understand. There is you, and there is God. I’m not sure, anymore, there’s a difference.” The person whom Quatro’s (I Want to Show You More, 2013) narrator, Maggie, is addressing—and is having trouble distinguishing from the deity—is James, a Princeton University–based poet she met via a fan letter, then carried on a heated correspondence with, followed by a handful of live encounters. The story, mostly set between 2013 and 2018, has been put in the blender (if there is a God, can he bring back chronological order to contemporary fiction?) and parceled out in vignettes, emails, letters, prayers, transcripts of therapy sessions, and the “fire sermon” of the book’s title. As the narrator suspects in the lines quoted above, this will be a lot to swallow for some readers, religious faith creating an extremely grandiose context for the tossing and turning Maggie goes through as she deals with her desire and her guilt. “Would we have allowed ourselves to do, inside a church, what we did in Chicago? What might have happened, had we done those things in a sacred space? I imagine statues beginning to weep, blood curling down the carved marble ankles on the crucifix above the altar, For this moment I died, for this moment I am always dying, every moment for all eternity I am bleeding so they can sit in the pew in this sanctuary…he sliding a hand inside the ripped knee of her jeans to feel the skin of her thigh….”
The people who connect with this debut novel are going to love it, and everyone else is going to roll their eyes and throw it across the room.Pub Date: Jan. 9, 2018
ISBN: 978-0-8021-2704-4
Page Count: 224
Publisher: Grove
Review Posted Online: Sept. 12, 2017
Kirkus Reviews Issue: Oct. 1, 2017
BOOK REVIEW
BOOK REVIEW
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
Jonathan Livingston Kitty, it’s not.
A lonely postman learns that he’s about to die—and reflects on life as he bargains with a Hawaiian-shirt–wearing devil.
The 30-year-old first-person narrator in filmmaker/novelist Kawamura’s slim novel is, by his own admission, “boring…a monotone guy,” so unimaginative that, when he learns he has a brain tumor, the bucket list he writes down is dull enough that “even the cat looked disgusted with me.” Luckily—or maybe not—a friendly devil, dubbed Aloha, pops onto the scene, and he’s willing to make a deal: an extra day of life in exchange for being allowed to remove something pleasant from the world. The first thing excised is phones, which goes well enough. (The narrator is pleasantly surprised to find that “people seemed to have no problem finding something to fill up their free time.”) But deals with the devil do have a way of getting complicated. This leads to shallow musings (“Sometimes, when you rewatch a film after not having seen it for a long time, it makes a totally different impression on you than it did the first time you saw it. Of course, the movie hasn’t changed; it’s you who’s changed") written in prose so awkward, it’s possibly satire (“Tears dripped down onto the letter like warm, salty drops of rain”). Even the postman’s beloved cat, who gains the power of speech, ends up being prim and annoying. The narrator ponders feelings about a lost love, his late mother, and his estranged father in a way that some readers might find moving at times. But for many, whatever made this book a bestseller in Japan is going to be lost in translation.
Jonathan Livingston Kitty, it’s not.Pub Date: March 12, 2019
ISBN: 978-1-250-29405-0
Page Count: 176
Publisher: Flatiron Books
Review Posted Online: Feb. 16, 2019
Kirkus Reviews Issue: March 1, 2019
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