Donatich manages to avoid clichés in what could have been another trendy defamation of the Catholic Church, for Father...
The title refers both to the Goldberg Variations and to “variations” in the priestly life of Father Dominic at Our Lady of Fatima.
Dominic has to adjust to the first variation after the death of his predecessor, Father Carl, a much-loved and wise old priest. Father Carl had looked out for Dolores, a troubled 16-year-old, both free-spirited and erratic, but Dominic hasn’t the light and loving touch of Father Carl, who saw Dolores as “one of God’s special cases, given us to know Him better." Dominic is instead simply bewildered by her wild, irrational outbursts. Meanwhile, Our Lady of Fatima is meeting the fate of many an aging urban Catholic church and is threatened with the wrecking ball, a move supported by the bishop but heroically (and quixotically) resisted by Dominic, who tries to drum up support through a lively blog on the Internet. Posting his thoughts and sermons online opens him up to considerable vilification, however, for he finds that there’s a great deal of hostility out there, much of it directed toward priests. Another narrative thread involves James, a talented young pianist taught by Signora Rosa, a septuagenarian piano teacher who gives her protégé cryptic, ethereal instructions in his approach to music. She persuades James to start writing a “biography” of the Goldberg Variations, a piece he feels an almost mystic attraction to. The paths of James and Dominic cross when the pianist becomes choir director at Our Lady of Fatima, and the narrative is further complicated when Dominic becomes romantically involved with Signora Rosa’s daughter Andrea, a divorcée with a 10-year-old daughter.
Donatich manages to avoid clichés in what could have been another trendy defamation of the Catholic Church, for Father Dominic emerges as a fully fleshed character, both tormented and lost.Pub Date: Feb. 28, 2012
ISBN: 978-0-8050-9438-1
Page Count: 288
Publisher: John Macrae/Henry Holt
Review Posted Online: Dec. 24, 2011
Kirkus Reviews Issue: Jan. 15, 2012
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
These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.
Pub Date: Jan. 1, 1942
ISBN: 0060652934
Page Count: 53
Publisher: Macmillan
Review Posted Online: Oct. 17, 2011
Kirkus Reviews Issue: June 15, 1943
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