Warm, smart, and original: a swift Snake in Eagle’s Shadow kick to all the Bridget Jones clones.
A young woman’s guide to life—as seen through classic Jackie Chan films.
Newcomer Brichoux scores a coup by venturing into the cliché-strewn, warmed-over waters of Gen-X chick-lit and coming up with a bright, fresh, exciting new spin on the genre. This time, the mid-20s woman awash in neuroses and self-doubt is Nicci Bradford, who (get this) doesn’t live in New York or London and doesn’t work in publishing. Disgruntled with her graphic work at a Boston ad firm, Nicci consoles herself with brewing the perfect pot of jasmine tea and watching classic, rare, kung fu flicks, the highly moral, extremely low-budgeted operatic action comedies from which she gains most of her insights into life. The wry, endearing and rootless daughter of overseas missionaries (she was raised mostly in the Philippines), Nicci’s not quite a tomboy, but she’s not far from it and has no white-knight delusions about her future. For most of the story, there’s not even a shoulder for her to cry on because her best friend Carol thinks Nicci was hitting on Carol’s husband (in truth, the guy was coming on to her and Nicci had to knee him in the groin—the only shaolin-style karate, sadly, she’s called upon to do in the book). Nicci’s got a new boyfriend, the rich, confident Rob, who pleases her to no end in bed (and on his yacht) but has next to nothing to talk with her about, and she finds herself fantasizing more and more about that quiet guy who works at the coffeeshop. While Brichoux knows the chick-lit conventions (just as Nicci knows and worships the conventions of the chopsocky genre), the last fourth of the tale breaks free of them and allows Nicci to restart her life on her own terms.
Warm, smart, and original: a swift Snake in Eagle’s Shadow kick to all the Bridget Jones clones.Pub Date: June 1, 2003
ISBN: 0-451-20902-8
Page Count: 256
Publisher: NAL/Berkley
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2003
BOOK REVIEW
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
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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