Whatever Monroe’s sins and limitations were, they didn’t merit this contemptible insult to her memory. Oates should be...
In the perverse manner all too typical of her singular career, Oates follows up one of her best novels—last year’s plaintive Broke Heart Blues—with one of the worst she (or any other contemporary “serious” author, for that matter) has ever committed to paper.
It’s a bloated, humorless fictional speculation on the life and career of Marilyn Monroe that mixes together canned US and film history, fanzine gossip, and heavy-breathing fantasy. The story begins in early-1930s Hollywood, where young Norma Jeane [sic] Mortensen endures the manic-depressive attentions of her self-dramatizing mother Gladys, who’ll spend most of her subsequent life in mental hospitals. The novel then becomes a rapid-fire tour of “MM’s” troubled adolescence (as a foster child and precocious sexpot), early marriage (to an ardent young husband she breathlessly pet-names “Daddy”), first success as a model (often nude), and very gradual conquest of Hollywood, and hopeful, doomed relationships with eminent figures coyly identified as the Ex-Athlete, the Playwright, and the President. Pretentious epigraphs from Freud, Stanislavsky, and Emily Dickinson, among others, sprinkled throughout the text, cannot disguise this really dreadful book’s eccentric blend of sleaze and turgidity. Dime-store psychology and portentous symbolism abound: Norma Jeane’s childhood dreams of the “Dark prince” Who Will Take Her Away From All This are emphatically linked to the father she never knew, and with Death, who comes for her when she’s only 36. And the Oates’s leaden prose (think Jackie Collins crossed with Thorstein Veblen) is all too frequently susceptible to such horrors as the following (whose author should burn forever in pulp-fiction hell for perpetrating it): “Gamely the Blond Actress began to stroke the President’s penis, as one might stroke a charming but unruly pet while its owner looked on proudly.”
Whatever Monroe’s sins and limitations were, they didn’t merit this contemptible insult to her memory. Oates should be ashamed of herself.Pub Date: April 1, 2000
ISBN: 0-06-019607-6
Page Count: 752
Publisher: Ecco/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2000
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
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
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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