Oe has been afflicted, and blessed, with a great theme that’s entirely his own—and has made it the cornerstone of an...


Perhaps the best of several fictionalizations of life with his brain-damaged son Hikari, this moving 1986 novel (previously untranslated into English) by Japan’s 1994 Nobel laureate ranks with such triumphs as Oe’s The Silent Cry (1975) and Teach Us to Outgrow Our Madness (1969).

The narrator is K., a middle-aged Tokyo writer whose understandably obsessive relationship with his adult son, born with a deformed head and thereafter subject to both irrational borderline-violent behavior and terrifying seizures, dovetails in his imagination with the consolations and clarifications found in the poems and paintings of William Blake, which K. has devoutly studied since his youth. Each chapter here is prefaced by a quotation from or allusion to Blake’s enormously rich oeuvre, and K.’s often discursive ruminations make telling connections between Blake’s themes and preoccupations and emotions stirred by the strange boy-man whom his parents and younger siblings continue to call “Eeyore.” For example, the subject of Eeyore’s dreams evokes references to Blake’s poetical treatment of the phenomenon of dreaming and his dreamlike paintings; Eeyore’s experiences with occupational therapy are counterpointed to Blake’s interpretation of the US Declaration of Independence. There’s much more: Eeyore’s panicky fear of death leads to memories of K.’s vigil for a former school friend dying of leukemia; teaching his son to swim brings K. into contact with athletic young men reminiscent of the paramilitary acolytes of Japanese novelist Yukio Mishima (who committed ritual suicide); and, most intriguingly, Eeyore’s inexplicable musical gift (Oe’s son is, against enormous odds, a successful composer), one of whose by-products is a highly praised collaboration between father and son. The result is a dazzlingly unconventional fiction, alive on every page with deeply considered ideas and restrained emotion, that’s capable of frequently reducing the reader to helpless (albeit grateful) tears.

Oe has been afflicted, and blessed, with a great theme that’s entirely his own—and has made it the cornerstone of an irresistibly compelling body of work.

Pub Date: March 1, 2001

ISBN: 0-8021-1710-4

Page Count: 272

Publisher: Grove

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Feb. 1, 2002

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A flabby, fervid melodrama of a high-strung Southern family from Conroy (The Great Santini, The Lords of Discipline), whose penchant for overwriting once again obscures a genuine talent. Tom Wingo is an unemployed South Carolinian football coach whose internist wife is having an affair with a pompous cardiac man. When he hears that his fierce, beautiful twin sister Savannah, a well-known New York poet, has once again attempted suicide, he escapes his present emasculation by flying north to meet Savannah's comely psychiatrist, Susan Lowenstein. Savannah, it turns out, is catatonic, and before the suicide attempt had completely assumed the identity of a dead friend—the implication being that she couldn't stand being a Wingo anymore. Susan (a shrink with a lot of time on her hands) says to Tom, "Will you stay in New York and tell me all you know?" and he does, for nearly 600 mostly-bloated pages of flashbacks depicting The Family Wingo of swampy Colleton County: a beautiful mother, a brutal shrimper father (the Great Santini alive and kicking), and Tom and Savannah's much-admired older brother, Luke. There are enough traumas here to fall an average-sized mental ward, but the biggie centers around Luke, who uses the skills learned as a Navy SEAL in Vietnam to fight a guerrilla war against the installation of a nuclear power plant in Colleton and is killed by the authorities. It's his death that precipitates the nervous breakdown that costs Tom his job, and Savannah, almost, her life. There may be a barely-glimpsed smaller novel buried in all this succotash (Tom's marriage and life as a football coach), but it's sadly overwhelmed by the book's clumsy central narrative device (flashback ad infinitum) and Conroy's pretentious prose style: ""There are no verdicts to childhood, only consequences, and the bright freight of memory. I speak now of the sun-struck, deeply lived-in days of my past.

Pub Date: Oct. 21, 1986

ISBN: 0553381547

Page Count: 686

Publisher: Houghton Mifflin

Review Posted Online: Oct. 30, 2013

Kirkus Reviews Issue: Sept. 15, 1986

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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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