Unpleasantly self-righteous characters gather accusingly around a narrator who’s awfully clueless for a shrink—though well...
A psychiatrist with a major Mom problem grapples with guilt and rage in this latest exploration of gothic family ties from McGrath (Port Mungo, 2004, etc.).
“My mother’s first depressive illness occurred when I was seven years old,” Charlie Weir tells us in the opening sentence, “and I felt it was my fault.” That’s pretty much the whole bleak story right there. When his parents fought, Charlie tried to placate them; after his father left, he tried to comfort his increasingly gloomy, hard-drinking mother, while older brother Walter left him to deal with it. So of course Walter became a famous artist and Mom’s favorite. In 1979, when the main action begins, she has just died and left the family’s Upper West Side Manhattan apartment to him. Charlie gets nothing, but he has bigger problems. He’s still haunted by his failure to prevent the suicide of his brother-in-law Danny seven years ago, and by his misbegotten decision to leave his wife Agnes, Danny’s sister, in the wake of that tragedy. Danny was one of a group of Vietnam veterans Charlie was treating; after his death, Charlie made his reputation writing about post-traumatic psychiatric disorders. “We gave special emphasis to the creation of a trauma story, the detailed narrative of the emotion, the context and the meaning of trauma,” he explains—and few readers will miss the overdetermined parallel to Charlie’s own narrative. As he embarks on an affair with a woman who is obviously also Walter’s mistress, Charlie reveals with nearly every lugubrious word that his basic problem lies far deeper than guilt over Danny’s death. We might care more about his original oedipal trauma, finally revealed in the novel’s closing pages, if Charlie didn’t seem throughout to be almost as cold and obtuse as everyone is always claiming.
Unpleasantly self-righteous characters gather accusingly around a narrator who’s awfully clueless for a shrink—though well written and shrewdly perceptive, as always, this isn’t one of McGrath’s more compelling efforts.Pub Date: April 11, 2008
ISBN: 978-1-4000-4166-4
Page Count: 224
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2008
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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