Beautifully written and powerfully compassionate: more fine work from a modern master.
The anxious aftermath of World War II and the turbulent confusion of the late 1960s provide the dual settings for Lent’s latest exploration of the American psyche (A Slant of Light, 2015, etc.).
Katey Snow is just 17 when she takes off from her home in Vermont, headed for Virginia on an odyssey set in motion by a stunning family revelation. Its precise nature slowly becomes clear as Katey’s journey crosscuts with the history of her parents’ marriage, shadowed by Oliver Snow’s traumatic experiences as a soldier in Germany. Lent, a quietly bold writer who rarely takes the expected path, makes this novel as much about mothers and daughters as about men and war. Jo Hale tries to warn daughter Ruth that dreamy, melancholic Oliver is unlikely to come back whole, and her warnings are borne out by the postwar silences that fester between the couple even though they love each other. And the disclosure that unmoored Katey was the culmination of years of sniping between her and Ruth, for whom her daughter incarnates the forces of unruly change threatening to shatter her world’s precarious equilibrium. Katey, for her part, views Ruth as “a tired bitter woman with a wasted life,” a cruel adolescent observation belied by Lent’s delicate portrait of the complicated realities of Ruth’s and Oliver’s lives, both sustained and constrained by their close-knit families and their small-town society. As usual, Lent brings his fictional world alive in brilliant physical detail: thickly textured descriptions of the fiddle-playing that consoles Oliver, of Ruth’s cooking, and of the varied landscapes through which Katey drives. The Vietnam-era background is slightly more rote than Lent’s perfect rendering of 1940s America (getting over the Good War by not actually talking about it), and Katey is a somewhat less interesting character than her parents. But the interplay between their stories makes for a heartbreaking examination of the fraught bonds of kinship and community.
Beautifully written and powerfully compassionate: more fine work from a modern master.Pub Date: May 2, 2017
ISBN: 978-1-62040-499-7
Page Count: 400
Publisher: Bloomsbury
Review Posted Online: Feb. 1, 2017
Kirkus Reviews Issue: Feb. 15, 2017
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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