A frequently engaging but ultimately inconsistent collection that seems like a stopgap between novels.
A collection of nine stories, with occasionally reappearing characters, set in the American West.
The eclectic Everett has consistently defied pigeonholing by genre or race, though themes of identity permeate his work (Percival Everett by Virgil Russell, 2013; I Am Not Sidney Poitier, 2009). Though those novels reflect a radical ambition concerning structure and the very nature of fiction, the stories here are comparatively straightforward. The ones that specify a location are set in Wyoming, and the others could be. Many feature a rancher, a stoic of few words, whose spouse has either died or left him. None of these protagonists (particularly the disoriented but independent woman in “A High Lake”) appears particularly lonely or regretful; they have learned to accept life and nature for what they are. The earliest and many of the best stories follow a similar progression—the protagonist heads into the wilderness (usually on horseback) in search of someone or on some other quest. Often, something happens that transforms the seeker—spiritually or physically or both—and life will never be the same (even if from the outside it may look exactly the same). The language is straightforward, almost Hemingway-esque, though some of the events it describes border on the supernatural. Some of the other, subsequent stories might best be described as “existential mysteries,” which again find someone looking for or discovering something but not in the wilderness or necessarily alone. The best of these is “Finding Billy White Feather,” in which a man receives a note from the title character, whom he has never met, and learns from the conflicting reports of those who claim to know him that he's a “tall, short, skinny, fat white Indian(s) with black blond hair” or perhaps “a middle-aged, wheelchair-bound Filipina. Or a tall black man with a disfiguring scar down the center of his face.” Race is generally an offhand, matter-of-fact revelation, as if it makes no difference whether these characters are black (an anomaly in the region) or white, and even those considered Indian may not be what they claim.
A frequently engaging but ultimately inconsistent collection that seems like a stopgap between novels.Pub Date: Sept. 15, 2015
ISBN: 978-1-55597-719-1
Page Count: 88
Publisher: Graywolf
Review Posted Online: June 29, 2015
Kirkus Reviews Issue: July 15, 2015
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
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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