GONE

Name: GONE
Author: Martin Roper
ISBN: 0-8050-6775-2

by Martin Roper ‧ RELEASE DATE: Feb. 6, 2002

Sometimes ponderous, more often unsettling, Roper’s literate narrative transforms the universal quest for love and wisdom...

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In his promising first, Irish writer Roper, at home in the land of Joyce and Beckett, follows a broken protagonist as he lurches from Dublin to Manhattan and back again, searching to know himself and to connect with his world, efforts thwarted by his own deep anger and ennui.

The narrator’s two-year journey goes some distance before he's identified as “Stephen.” Stephen may as well remain nameless, hollow as he is after the harrowing death of his sister by cancer at 19. Alienated from his father, from the Church, and from his mother, who abandoned her family, Stephen finds momentary comfort with Ursula, a freelance writer, whom he marries. The couple’s closeness ebbs as they bicker over the restoration of a house in a squalid corner of Dublin, sharply drawn by Roper. When Ursula disappears, Stephen flees to Manhattan, where, in scenes of dark satire, he begins an affair with Holfy, a photographer 15 years his senior. During a moment of graphically depicted sadomasochistic sex, Holfy socks Stephen in the face. He socks back, and his life seems to stir. But outside of the bedroom, Stephen (and the reader) must contend with Holfy’s gassy pronunciamentos on art: “Never be accused of writing a smooth sentence,” she advises him (a brickbat no one could hurl at Roper, his prose ever tensile). Indeed, art preoccupies Stephen, yet he distrusts it. After failing to capture a sense of his sister’s illness on paper, he muses that “The only difference between poets and prostitutes is that poets work for less money.” He returns to Dublin for a final break with Ursula and a clenched, failed attempt to make a reconciliation with his mother. Headed home on a ferry, he makes a final, vivid gesture that, while perhaps ambiguous, probably portends ill.

Sometimes ponderous, more often unsettling, Roper’s literate narrative transforms the universal quest for love and wisdom into a singular tale of anguish.

Pub Date: Feb. 6, 2002

ISBN: 0-8050-6775-2

Page Count: 253

Publisher: Henry Holt

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Nov. 15, 2001

Categories:

LITERARY FICTION

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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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

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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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.