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SMALL GREAT THINGS

After she sets up a world in which racism thoroughly defines every aspect of character and plot, Picoult's conclusion occurs...

In Picoult’s (Leaving Time, 2014, etc.) latest novel, Ruth Jefferson, a labor and delivery nurse, struggles to survive claims of murdering a patient while keeping her own family intact.

Picoult has made a name for herself crafting novels of depth and insight, peopled with rich characters and relationships. Here, she explores the intersection of racial bias, medicine, and the law. African-American Ruth Jefferson has been a labor and delivery nurse for more than 20 years, and she's the kind of professional every patient dreams of: she genuinely cares for her patients and takes joy in seeking out ways she can help them—whether it be a back rub or an epidural. But Ruth is completely thrown when a newborn baby’s parents, both white supremacists, demand that she be removed from their care team because they don't want a black person touching their child. In a moment of deliberate plot maneuvering, Ruth is left as the sole nurse on the child’s floor, and the baby goes into cardiac arrest and dies. Ruth, accused of hesitating before performing CPR, is charged with murder. There's no question that Picoult is a talented writer. The plot is suspenseful, the structure and pacing exquisite. But there is also no question that writing a story from the perspective of a black woman requires more racial consciousness than she displays here. At times the plot feels more like an intellectual exercise to understand racism than an organic exploration of a real person's life. The voice is that of a nonblack person discovering all at once that racism exists rather than that of a black person who has lived with racism her whole life. Picoult has drawn upon every black stereotype available: here is the black single mother, the angry black woman, the mammy, the maid, the teenage "thug," the exceptional token, and the grandstanding preacher. Alternating among the points of view of Ruth; the white supremacist father, Turk Bauer; and Ruth’s lawyer, Kennedy McQuarrie, Picoult is at her best when she lets the novel solidify into Kennedy’s narrative, the tale of a white woman who thinks she's more liberal than she actually is. It's Kennedy's journey of coming to terms with her own racist relatives and white privilege, as she realizes, for the first time, the pervasiveness of American racism, that is the real story here—and the novel would have been stronger if it had been written from this perspective throughout.

After she sets up a world in which racism thoroughly defines every aspect of character and plot, Picoult's conclusion occurs in a separate fairy-tale world where racism suddenly does not exist, resulting in a rather juvenile portrayal of racial politics in America.

Pub Date: Oct. 11, 2016

ISBN: 978-0-345-54495-7

Page Count: 480

Publisher: Ballantine

Review Posted Online: July 18, 2016

Kirkus Reviews Issue: Aug. 1, 2016

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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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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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