The rich content gets slightly buried in the complex structure of this ambitious novel.
A family history unfolds in the form of a screenplay spanning three generations and several countries.
Huston (Infrared, 2012, etc.) opens the novel in a hospital room where Milo Noirlac, a renowned screenwriter, is dying. Milo’s co-writer and director, Paul Schwarz, visits, and they begin writing their final screenplay. The present action of the novel remains in this one room as it fills with stories from the past. Structurally, the novel is highly complex. The screenplay follows three subplots, each with its own protagonist: Milo’s grandfather, his mother and Milo himself. Early on, Paul states his philosophy of film: “For the first ten minutes, the audience is infinitely tolerant and will accept whatever you choose to flash at them.” Chapter 1 of the novel embraces this concept, forcing the reader to weave the threads together and jump through time and space, from Ireland to Canada and back again. The language is lyrical and takes full advantage of the novel-as-screenplay form. Time passes in a series of montage images layered with a character’s voice-over. With Milo’s mother, the camera takes on her point of view so that the reader is always in her body, experiencing her trauma. The ugliness of the scenes, which depict rape, child abuse and bloody revolution, contrasts sharply with the beauty of the prose in a rich and engaging way. In each subplot, however, there are scenes that feel melodramatic and heavy-handed. Paul, speaking to Milo, provides metacommentary on the screenplay throughout their writing and often points out these over-the-top moments as well as weak dialogue and scenes they will need to revise or cut. In this way, the novel allows for some flaws in the story, though they are still frustrating to encounter. In addition to the already complicated three-pronged plot structure, each chapter is titled with the name and definition of a capoeira term. The significance of capoeira is not immediately clear. This becomes yet another layer added to the narrative, which begins to feel weighed down under the pressure of too many guiding structures.
The rich content gets slightly buried in the complex structure of this ambitious novel.Pub Date: Sept. 2, 2014
ISBN: 978-0-8021-2271-1
Page Count: 288
Publisher: Black Cat/Grove
Review Posted Online: July 30, 2014
Kirkus Reviews Issue: Aug. 15, 2014
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.
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
BOOK TO SCREEN
BOOK TO SCREEN
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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