Touching, hilarious, and deeply satisfying.
Almost 300 years after the town of Danvers, Massachusetts, hosted the infamous 1692 witch trials, a new coven rises to power.
The 1989 Danvers High School girls’ field hockey team (go Falcons!) is sick and tired of losing. Frustrated after yet another loss at a summer training camp, goalie Mel Boucher takes matters into her own hands by signing a “dark pledge” in a spiral notebook with a picture of Emilio Estevez printed on the cover: “Years later [Mel] would try and explain why she did it by saying that sometimes the Lord is busy and He needs us to be self starters, show a little moxie.” Emilio, whom right halfback Heather Houston calls an “alternative god,” shows his gratitude by improving the team’s performance in their next game, and one by one the rest of the players sign their names in the book, each of them given a cut-off slice of an old sock (in Falcon blue) to tie on their arm as a symbol of their pledge. When the official season starts and the Falcons start winning games, the girls feel Emilio pushing them toward their more devilish impulses. As they cause increasing mayhem around Danvers, the team can feel Emilio demanding more from them, and they worry they won’t be able to keep the magic going long enough to win the state championship. Barry (She Weeps Each Time You’re Born, 2014, etc.) is deeply witty, writing the narrator as a sort of omniscient group-think, the team speaking as one wry voice. Barry spends time with each of the team members and examines their struggles with the gender norms of the late 1980s as well as with race, identity, family, and friendship. Three of the characters are women of color who have complex relationships to being surrounded mostly by White people; a few of the girls discover budding nuance in their sexuality; and they all start to wonder if witchcraft is really about taking up space in a world that wants to keep you small. As Emilio pushes them further down the path of darkness, readers will cheer them on because what they’re really doing is learning to be fully and authentically themselves.
Touching, hilarious, and deeply satisfying.Pub Date: March 3, 2020
ISBN: 978-1-5247-4809-8
Page Count: 384
Publisher: Pantheon
Review Posted Online: Dec. 8, 2019
Kirkus Reviews Issue: Jan. 1, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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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