Highly moving and lively storytelling: Hornby’s gifts become more apparent with each outing.


Four suicidal depressives, meaning to do themselves in, meet on the same London rooftop—and form a pact—in an unpredictably comic fourth novel from Hornby.

Except for a few mini-dissertations on rock and the Beatles, there are times when you’d hardly know that music- and pop-culture-obsessed Hornby (How to Be Good, 2001, etc.) was this story’s author. It’s New Year’s Eve, and four people are converging on top of a building called Toppers’ House. There are Jess, the slightly deranged daughter of a high-ranking politician; Martin, a former TV host just out of jail for statutory rape (girl was15, said16); JJ, a newly single Chicago musician whose band recently broke up; and Maureen, a devout Catholic and single mother raising a son who’s been in a coma since birth. Needless to say, all have good reasons to off themselves (well, except JJ, which is why he pretends for a time to have a fatal illness), but coming together in such a random fashion forms a strange bond, and, instead of jumping off, they become friends, sort of. Making a pact to reassess their options in 90 days, they start meeting regularly, since there’s nobody else they can talk to. Always a sucker for the happy ending, Hornby doesn’t disappoint, but that’s not to say he takes the easy road out. This is a group that spends more time firing caustic broadsides at each other and heaping more turmoil on their already tattered lives than in figuring out their grand purpose—and there’s little in the way of epiphany awaiting them. The solution (if any) to their despair is more likely to come in a small moment of kindness than in any best-selling therapist’s notion of closure. With the exception of a perfunctory subplot about the pact’s brief time in the media spotlight, this is a well-executed and thoughtful tale that never digs too deep and simultaneously doesn’t denigrate the seriousness of its characters’ dilemmas.

Highly moving and lively storytelling: Hornby’s gifts become more apparent with each outing.

Pub Date: June 7, 2005

ISBN: 1-57322-302-6

Page Count: 352

Publisher: Riverhead

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 1, 2005

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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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