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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EAST OF EDEN

by John Steinbeck ‧ RELEASE DATE: Sept. 19, 1952

But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.

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Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.

Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.

But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.

Pub Date: Sept. 19, 1952

ISBN: 0142004235

Page Count: 616

Publisher: Viking

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: Sept. 1, 1952

Categories:

LITERARY FICTION

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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.