A page-turning whirlwind steeped in pain and hope.
Two barely-20-somethings from opposite sides of the tracks fall in frantic love amid the lush grit of New York City in the 1980s in Libaire’s (Here Kitty Kitty, 2004) new novel.
For three months, Elise Perez has been living in a cheerfully dilapidated apartment in New Haven after her roommate (then a stranger) found her sleeping in his car. Next door, Yale junior Jamey Hyde, beautiful, wealthy, from a family of note, is rapidly veering off his proscribed path. She’s a high school dropout who ran away from public housing in Bridgeport: half white, half Puerto Rican, "not lost and not found, not incarcerated, not beautiful and not ugly and not ordinary.” He is her opposite: born and bred in New York City, son of a starlet and an investment banker (acrimoniously divorced), polished and well-mannered, with a job at his father’s namesake firm preordained upon graduation. And against the warnings of everyone around them, they are entranced by each other. Their relationship is obsessive and charged and not entirely pleasant, but their hunger is unstoppable: “She can often tell something’s wrong, since after sex he usually hates her and wants her to disappear or die,” Libaire writes. “But then he comes back the next night, or the night after, and that’s all that matters.” Jamey brings Elise with him to New York for the summer—he has an internship at Sotheby’s—and then for longer, living together in passionate free fall, severing ties to the lives they knew before. Jamey is willing to sacrifice everything he came from for love—but it’s a choice that comes at grave cost. For the most part, Libaire manages to rescue her somewhat familiar characters from the jaws of cliché, but the real strength of the novel is its Technicolor atmosphere: Libaire’s New York is a glittering whirlwind, raw and sweaty and intoxicating.
A page-turning whirlwind steeped in pain and hope.Pub Date: May 30, 2017
ISBN: 978-0-451-49792-5
Page Count: 320
Publisher: Hogarth
Review Posted Online: March 6, 2017
Kirkus Reviews Issue: March 15, 2017
BOOK REVIEW
PROFILES
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
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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