Visceral and demanding; an unsettling collection that knocks you off balance.
Everyone in Tan’s world is broken and searching for connection, though in the 11 haunting stories collected here, the results are rarely what they bargained for.
With the eerie precision of oversaturated snapshots, each of Tan’s stories captures a different moment of desperation—some otherworldly, others deceptively mundane. In “Legendary,” which opens the collection, a woman studies her boyfriend’s ex-girlfriends, searching for herself in their strange, unspoken sisterhood. In “Date Night,” a little girl in Hong Kong spends the night with her Indonesian nanny—new to the country, thousands of miles from her own children—while her mother is out with a date. In “New Jersey,” a teenage girl feels betrayed when her best friend loses her virginity to a boy. Other stories are stranger and more violent: “Laurens” follows a boy-Lauren and a girl-Lauren living brutally parallel lives: “They know how to skin things. Their fathers are hunters. The summer their mothers suicided, the Laurens went to SeaWorld San Diego, where they occupied the same quadrant of the bleachers during the Shamu show.” Both their stories end with blood. In the viciously sad “DD-MM-YY,” twin brothers have been competing for the same girl for years, though her own memories of this are shaky: She’s brain-injured from a car accident. Formatted like a movie script and taking up nearly 50 pages, “Candy Glass” is perhaps the most quietly affecting story in the collection, and the loneliest, about a Hollywood actress who falls for her stunt double. “Maybe funhouse mirrors would be scarier if, instead of making you look bad, they made you look better,” the actress observes, watching her doppelgänger. There is a gentle hesitancy to their relationship; in the end, the stunt double—a trans woman—will leave her, choosing to start fresh. “I’ll stick a flag in my lawn and go to church every Sunday, and marry a man. I’ll be part of the superstructure,” she says. “I don’t know how useful love is, in the long run.”
Visceral and demanding; an unsettling collection that knocks you off balance.Pub Date: Oct. 2, 2018
ISBN: 978-1-56689-527-9
Page Count: 224
Publisher: Coffee House
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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