An introspective tale of self-discovery that’s worth reading for its lyricism and insights.

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In Klein’s debut novel, a man travels across the country and around the world, searching for happiness and meaning in his life.

After starting out with pitifully few advantages, Frankie Jones enjoys a charmed life as an adult. As a baby, he’s abandoned by his father and orphaned a few years later when his mother dies in a factory fire. At age 16, he leaves his orphanage and gets a busboy job in a St. Louis diner, where he’s mentored by a blues-playing cook and his family. He eventually saves enough money to travel abroad, and he goes on to visit 32 different countries; he also has some love affairs along the way. When he tires of roaming, he returns to the United States and goes to college, where he earns a degree in journalism. In Boston, while working as a newspaper reporter, he meets Mercedes Brewster, the woman he will later consider to be the love of his life. Although they’re from different backgrounds—she’s blue-blooded, and he calls himself the “bastard son of a pauper with no history at all”—it doesn’t stop them from falling in love. But soon his restlessness compels him to travel across the country to take a reporting job in San Diego. There, he pines for Mercedes but finds new opportunities for love and friendship, which leads to a betrayal. As Frankie deals with the consequences of his actions, he contemplates the nuanced differences between elusive happiness and attainable contentment. Klein conveys philosophical ideas with beautifully crafted prose and vivid descriptions, such as “A biting mad-dog wind snapped down the street mean as a blister” and “I watched blindly as the orange sun drowned itself in the ocean and the sky fizzled with sparklers of every shade.” The story, told from a distinctly male point of view, has echoes of the work of Ernest Hemingway, particularly during its spearfishing sequences, which are set in Baja California, Mexico. Frankie also comes across as likable, despite his issues with identity and commitment, and although he discusses much with his friends and lovers, much is left unresolved—as often happens in real life.

An introspective tale of self-discovery that’s worth reading for its lyricism and insights. 

Pub Date: June 14, 2016

ISBN: 978-1-5327-8246-6

Page Count: 206

Publisher: CreateSpace

Review Posted Online: Jan. 16, 2017



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



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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