A splendid, relentlessly suspenseful fictional examination of centuries of cruelty, frustration, and disasters, both natural...
Astonishingly accomplished debut pits a fiercely independent, emotionally scarred descendant of rapacious Oregon ranchers against members of the Nez Perce Indian tribe—in a courtroom battle for the ownership of land that is sacred to both.
On the same day that her mother dies of a lingering brain cancer, Iris Steele gets a registered letter informing her she's being sued by members of the Nez Perce over the ownership of a portion of her family's cattle ranch known to both her family, and the Indians, as the Heart of the Beast. After burying her mother in the family plot that holds her father and brother, Iris, 28, stoically brings in the wheat crop, but can't suppress memories of her horrifically dysfunctional family. Haunted by her emotionally abusive mother Elise, her brutally sadistic father Ike, her sensitive but doomed brother Jake, she finds herself unburdening her grief to 70-year-old Aunt Hanna, who emerges from a 30-year stay in an insane asylum to complete a series of sculptures of the family. Iris toys with giving up the ranch since, with the rare exception of the love and loss of her brother's best friend Henry, ranching has been for her an almost unending history of terrifying violence (a scene in which a harvesting combine explodes and turns wheat fields into a raging holocaust is a masterpiece of edge-of-the-seat action prose) and exploitation going all the way back to her Norwegian pioneer ancestors. She decides to fight for the land, though, because events, within her family, and in the larger history of the region, suggest that the crimes and rapacity isolating whites from Indians are not as clearly drawn as both sides would want to admit. As Hanna completes her sculptures and the courtroom confrontation wounds everyone, Iris resolves her traumatic past in a single, selfless act.
A splendid, relentlessly suspenseful fictional examination of centuries of cruelty, frustration, and disasters, both natural and man-made, played out against a pitiless, magnificently dangerous northwestern landscape.Pub Date: Sept. 1, 2001
ISBN: 0-7432-1179-0
Page Count: 384
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2001
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
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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