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Unquestionably the finest novel of the present century—and we may be saying the same thing 92 years from now.

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Life and art, death and transfiguration reverberate with protean intensity in the late (1953–2003) Chilean author’s final work: a mystery and quest novel of unparalleled richness.

Published posthumously in a single volume, despite its author’s instruction that it appear as five distinct novels, it’s a symphonic envisioning of moral and societal collapse, which begins with a mordantly amusing account (“The Part About the Critics”) of the efforts of four literary scholars to discover the obscured personal history and unknown present whereabouts of German novelist Benno von Archimboldi, an itinerant recluse rumored to be a likely Nobel laureate. Their searches lead them to northern Mexico, in a desert area notorious for the unsolved murders of hundreds of Mexican women presumably seeking freedom by crossing the U.S. border. In the novel’s second book, a Spanish academic (Amalfitano) now living in Mexico fears a similar fate threatens his beautiful daughter Rosa. It’s followed by the story of a black American journalist whom Rosa encounters, in a subplot only imperfectly related to the main narrative. Then, in “The Part About the Crimes,” the stories of the murdered women and various people in their lives (which echo much of the content of Bolaño’s other late mega-novel The Savage Detectives) lead to a police investigation that gradually focuses on the fugitive Archimboldi. Finally, “The Part About Archimboldi” introduces the figure of Hans Reiter, an artistically inclined young German growing up in Hitler’s shadow, living what amounts to an allegorical representation of German culture in extremis, and experiencing transformations that will send him halfway around the world; bring him literary success, consuming love and intolerable loss; and culminate in a destiny best understood by Reiter’s weary, similarly bereaved and burdened sister Lotte: “He’s stopped existing.” Bolaño’s gripping, increasingly astonishing fiction echoes the world-encompassing masterpieces of Stendhal, Mann, Grass, Pynchon and García Márquez, in a consummate display of literary virtuosity powered by an emotional thrust that can rip your heart out.

Unquestionably the finest novel of the present century—and we may be saying the same thing 92 years from now.

Pub Date: Nov. 1, 2008

ISBN: 978-0-374-10014-8

Page Count: 912

Publisher: Farrar, Straus and Giroux

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Sept. 15, 2008

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HOUSE OF LEAVES

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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THE SECRET HISTORY

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

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