Though some will find that the illumination within the final three pages justifies the existential tedium preceding it,...
Rarely has a novelist pulled the strings of his puppetry more transparently, as ardent fans may find this meta-fictional fable profound, while others may dismiss it as a literary parlor trick.
With a Kafkaesque protagonist in an M.C. Escher plot, Auster (The Brooklyn Follies, 2005, etc.) returns to the themes of identity, memory, illusion and creativity that have marked his work since his breakthrough New York Trilogy (The Locked Room, 1986, etc.). During that period, he was regarded as a sort of metaphysical mystery writer, a reputation he lives up to here. The protagonist is nameless except as “the old man,” until author and reader make a compact to refer to him as “Mr. Blank,” which immediately becomes the name by which other characters know him. Those characters then invoke the names of others recycled from Auster’s fiction (Benjamin Sachs, David Zimmer, Fanshawe, Quinn), whom Mr. Blank is supposed to know but doesn’t. Except for vague memories and dreams, he knows nothing. He has been committed to or incarcerated within a room that is the totality of his environment, or perhaps he is there by choice. Everything in the room carries a label (“lamp,” “desk,” etc.), for his command of the connection between language and reality (whatever that is) is tenuous. There are photographs on the desk that might well spark clues to his identity, and a manuscript that purports to be the memoir of a previous occupant of this very room. Visitors come and go: a doctor, a former inspector, a lawyer and others, some of whom may have had some connection with Mr. Blank, none of whom he remembers and most of whom he will forget as soon as they leave. Otherwise, nothing much happens, until the novel culminates in Mr. Blank’s discovery of another manuscript with which the reader will be quite familiar.
Though some will find that the illumination within the final three pages justifies the existential tedium preceding it, others will agree with Mr. Blank, who is “not the least bit amused” and wonders, “When is this nonsense going to end?”Pub Date: Feb. 1, 2007
ISBN: 0-8050-8145-3
Page Count: 160
Publisher: Henry Holt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 2006
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
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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