Grenville’s best, and a giant leap forward.
A riveting narrative unfolds into a chilling allegory of the mechanics and the psychology of colonialism in the veteran Australian author’s rich historical novel.
In a follow-up to her Orange Prize–winning The Idea of Perfection (2002), Grenville reaches back to Australia’s origins, in an expansive tale similar in plot and theme to Patrick White’s 1976 masterpiece, A Fringe of Leaves. It’s the story of William Thornhill, a London bargeman who turns to petty crime after an impoverished childhood and when marriage and paternity severely test his survival skills. Sentenced to death for theft (he stole a load of wood), he receives a commutation of his sentence thanks to the emotional importunings of his devoted wife Sal, and when he is “transported” to New South Wales as a convict laborer, William’s family dutifully accompanies him. Australia beckons as a land of opportunity, though the hamlet of Sydney is at this time (1806) little more than a cluster of crude huts. William adapts to this strange new environment, following the examples of other convicts and fortune-hunters, and stakes out a parcel of land (shaped, with fine symbolic irony, like a man’s thumb), grandly naming it Thornhill’s Point. Then things begin unraveling. Native aborigines who already inhabit the land, and to whom the concept of ownership is utterly alien, are initially passive, then resentful, eventually confrontational. Misunderstandings crop up and multiply, and subsequent actions lead to a horrific massacre—in which William grimly, reluctantly participates. His “triumph” is plaintively contrasted to the stoical endurance of the aborigine Jack, the lone survivor of the massacre, who possesses a primal connection to the land and its spirit that William’s act of “ownership” can never displace. No fingers are pointed: We understand only too well what brought these people together and then thrust them apart, and the story’s resolution achieves genuine tragic grandeur.
Grenville’s best, and a giant leap forward.Pub Date: May 5, 2006
ISBN: 1-84195-797-6
Page Count: 352
Publisher: Canongate
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 2006
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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