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RABBIT IS RICH

A NOVEL

Should Updike's longer fiction prove truly lasting, it may well be in the form of the Rabbit novels—if only because they will so precisely tell future generations what the aging, late-20th-century industrial East of the US was like in sight, smell, sound, and social economy. But why are these novels so interesting to today's readers, for whom the mirror-like sociological surfaces are only a minor attraction? It's their riskiness—the risks that Updike takes in subordinating his supple, reedy intelligence to the far-different Rabbit, an innocent when young (in Run), confused by the Sixties (Redux), and now, in 1979, an incipient Archie Bunker. Legatee to his dead father-in-law's Toyota dealership (doing superbly in 1979, year of the gas-lines), Harry "Rabbit" Angstrom is 46, living again with wife Janice—her ex-lover Charlie Stavros is now Rabbit's co-worker and good friend—in her mother's Brewer, Pa. house. But Rabbit's having trouble with son Nelson, 23: the kid has brought a girl back from college with him—and there's yet another girl, left behind (and pregnant), whom he'll soon have to marry. Nelson's plight, to his father's eyes, seems pathetic, spoiled, distasteful (too much like young Rabbit's messiness?). After all, Rabbit is now "rich." He reads Consumer Reports, even while Janice is initiating lovemaking (a heavy-handed scene, as are such other sexual/economic images as Rabbit's placing Kruggerands on Janice's nipples). He's a golfer at a country club for "a class of young middle-aged that has arisen in the retail business and service industries." He even plays sexual swapsies on a Caribbean vacation. And Rabbit "sees his life as just beginning, on clear ground at last, now that he has a margin of resources, and the stifled terror that always made him restless has dulled down. He wants less. Freedom, that he always thought was outward motion, turns out to be this inner dwindling." Thus death, plenary, is always on his mind: he searches out Ruth, the prostitute he briefly lived with in Run, in quest of a possible daughter they may have had together; though Nelson's a pain, he at least bequeathes to Rabbit a granddaughter; and the book's most luminous scene is Rabbit and Janice telling her old mother that they've bought a house of their own and are therefore clearing out of hers. Yet the book, tugged at by the gravity of age, is stalled at its heart. Rabbit's innocence doesn't feel storm-tossed enough; if Redux was slightly too operatic, far-fetched, Rich is too placidly striated. Moments are marvelous—a Sunday afternoon sunset at the country club, telling a mildly amusing story only to have it picked to death by interruptions—but some also seem tiredly obligatory (e.g., a catalogue-aria of a guest bathroom that's too reminiscent in purpose and angle to the drugstore inventory in Redux). And Updike's larruping, clausal sentences double the book back on itself tightly—perhaps to suggest Rabbit's new safe burgher-ness, but perhaps, too, because of a lack of real energy. Still, whatever its limitations as a narrative, this is commanding work from a writer whose great, wide intelligence is probably unrivaled in American fiction: Rabbit lives, if perhaps a bit less vitally now, and most serious readers will want to keep track of him.

Pub Date: Oct. 7, 1981

ISBN: 0449911829

Page Count: 432

Publisher: Knopf

Review Posted Online: Oct. 6, 2011

Kirkus Reviews Issue: Oct. 1, 1981

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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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OF MICE AND MEN

Steinbeck is a genius and an original.

Steinbeck refuses to allow himself to be pigeonholed.

This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define.  Steinbeck is a genius and an original.

Pub Date: Feb. 26, 1936

ISBN: 0140177396

Page Count: 83

Publisher: Covici, Friede

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: Feb. 1, 1936

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