An ambitious plot that fails to cohere into either insight or revelation.
Troubled 22-year-old Emma Powers lands in the middle of a mystery bigger than her own actions when she meets Earl, a feral boy living seemingly alone in the Black Hills of South Dakota, who hides his face behind an elaborate tinfoil mask.
Emma is on the run. Her destination is the Badlands, where she hopes to uphold her end of the suicide pact she made with her stepbrother, Ray. In addition to her filthy Doc Martens and despised “set of double Ds,” she’s carrying with her the baggage of her and Ray’s obsessive relationship, her complicity in his death, the emotional scars of her father’s childhood abandonment, a surgical wound from her recent emergency hysterectomy, and the seeds of a cancer she refuses to treat. She also has a hearty addiction to Vicodin, and, under its fuzzy influence, she hitches a ride with Lowell, a “white dude who thinks tribal tattoos are a grand idea,” who is on his way to kidnap his young daughter and take her to the West Coast. When Lowell’s generally creepy vibe tips over into sexual violence, Emma shoots him and steals his van, leaving him to freeze in the impending blizzard. In search of gas, Emma pulls off at an abandoned diner, and there she meets Earl, an approximately 8-year-old boy who hides behind a tinfoil mask. As Emma struggles to get back on the road, Earl draws her further and further into the secrets that abound in his dark life. We meet George, Earl’s abusive father, whom Earl has attempted to poison with a stolen bottle of Emma’s pills, and learn what exactly is in the cellar Earl would like Emma to throw George into. As the extent of George’s abuse becomes clear, Emma decides to take Earl with her, though she is unclear where her own journey will end—but George and a vengeful Lowell have other plans for them both. Marked by fire and ice, Moulton’s debut insists on upping its ante at every turn. The result is a preponderance of conflagrations that consume not only the ready tinder of the abandoned ghost town Earl calls home, but also all semblance of rational character-building. In spite of the intricate rendering of this cold and remote landscape, the story itself feels false and vague, more like smoke than fire.
An ambitious plot that fails to cohere into either insight or revelation.Pub Date: Sept. 10, 2019
ISBN: 978-0-374-53830-9
Page Count: 272
Publisher: MCD/Farrar, Straus and Giroux
Review Posted Online: June 16, 2019
Kirkus Reviews Issue: July 1, 2019
BOOK REVIEW
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
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
BOOK REVIEW
BOOK REVIEW
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