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PURITY

An expansive, brainy, yet inviting novel that leaves few foibles unexplored.

Awards & Accolades

Our Verdict

  • Our Verdict
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  • Kirkus Reviews'
    Best Books Of 2015


  • New York Times Bestseller

A twisty but controlled epic that merges large and small concerns: loose nukes and absent parents, government surveillance and bad sex, gory murder and fine art.

Purity "Pip" Tyler, the hero of Franzen’s fifth novel (Freedom, 2010, etc.), is a bright college grad with limited prospects: burdened with student debt, she lives in an Oakland squat, makes cold calls at a go-nowhere job, and can’t stray far from an emotionally needy mom who won’t reveal who her dad is. A German visitor, Annagret, encourages Purity to intern in Bolivia for the Sunlight Project, a WikiLeaks-style hacker group headed by the charismatic Andreas Wolf. Skeptical but cornered, Purity signs on. The names alone—Purity, Wolf—make the essential conflict clear, but that just frames a story in which every character is engaged in complex moral wrestling. Chief among them is Andreas, who killed Annagret’s sexually abusive stepfather and has his own issues with physical and emotional manipulation. But he’s not the only one Franzen dumps into the psychosexual stew. Andreas’ friend Tom Aberant is a powerful journalist saddled with self-loathing and a controlling ex-wife who detests her father’s wealth; Tom’s lover (and employee), Leila Helou, is a muckraker skilled enough to report on missing warheads but fumbling at her own failed marriage to Charles Blenheim, a novelist in decline. In Freedom, everybody was eager to declaim moral certitudes; here, Franzen is burrowing deep into each person’s questionable sense of his or her own goodness and suggests that the moral rot can metastasize to the levels of corporations and government. And yet the novel’s prose never bogs down into lectures, and its various back stories are as forceful as the main tale of Purity’s fate. Franzen is much-mocked for his primacy in the literary landscape (something he himself mocks when Charles grouses about “a plague of literary Jonathans”). But here, he’s admirably determined to think big and write well about our darkest emotional corners.

An expansive, brainy, yet inviting novel that leaves few foibles unexplored.

Pub Date: Sept. 1, 2015

ISBN: 978-0-374-23921-3

Page Count: 576

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 6, 2015

Kirkus Reviews Issue: June 1, 2015

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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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