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THE ROOT WORKER

Name: THE ROOT WORKER
Author: Rainelle Burton
ISBN: 1-58567-140-1

by Rainelle Burton ‧ RELEASE DATE: June 19, 2001

Unconvincing first novel, despite some powerful scenes.

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A young African-American grows up under horrendous circumstances in 1960s Detroit.

The time period is irrelevant, actually, since 11-year-old narrator Ellen, her family, and their neighbors seem oblivious to the larger world. There are few references to Detroit’s distinguishing landmarks or history, and the isolation of Ellen’s neighborhood is nothing compared to the girl's isolation from those around her. She calls her mother “the woman,” her father “the husband.” Told repeatedly that she is ugly and unwanted, slow and mentally “off,” Ellen does behave in ways strangely innocent for her age, although she seems to keep up at the parochial school she attends and even to excel in catechism class. No one seems to notice that Ellen’s mother is clearly the unbalanced member of the family. Under the power of the “Root Woman,” a voodoo priestess, Mom has determined that evil spirits, in particular those belonging to Ellen’s maternal grandmother, have invaded her daughter and must be removed. Ellen is forced to drink horrible concoctions, including bodily fluids. She endures countless beatings and instances of sexual abuse. She is raped and impregnated by her older brother before she's 12. Her mother, who blames “the husband” for the pregnancy and Ellen for enticing him, causes her to abort, then tells her she imagined the whole thing. “The husband” remains a sad, passive observer, and the teachers at her Catholic school (a setting of undeveloped literary possibilities) notice but say nothing. Finally, a new neighbor moves in, an educated woman by the name of Barbara, who feels a bond with Ellen—though the author doesn’t convey this very persuasively—and becomes her protector. When Barbara takes Ellen’s plight to the authorities, the battle over the girl’s future comes to a head.

Unconvincing first novel, despite some powerful scenes.

Pub Date: June 19, 2001

ISBN: 1-58567-140-1

Page Count: 208

Publisher: Overlook

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: May 1, 2001

Categories:

LITERARY FICTION

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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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.