by Romano Bilenchi and translated by Ann Goldstein ‧ RELEASE DATE: Nov. 1, 2009
Episodic and often surreal, with dark, complicated psychological undercurrents.
First English-language publication of a 1984 tale of knowledge gained and innocence lost in 1920s Tuscany, by rarely translated Viareggio Prize winner Bilenchi (1909–89).
A metaphorical chill begins to encroach on the 16-year-old narrator’s awareness with the death of his grandfather, a benevolent figure writ large on a young mind. Not long before, the old man had taken his grandson to an archaeological site where the discovery of a purse of Roman coins left a lasting impression of both history and impermanence. “Awareness of the transient is what gives value to man’s life,” declared grandfather, and this theme tints the narrator’s ongoing reflections on his emotionally turbulent experiences. The grandfather’s obsession with the Longobards who once invaded their region of Italy, the ruins that punctuate the landscape, seen from climbs up Monte Luca with an eccentric math teacher, the ancient fortresses and threshing floors, all contribute to the sense of a volcanic past seething beneath the idyllic surface. The narrator fears that his father will react in anger to rumors bandied about his mother, fears retribution for ratting out a friend for despicable treatment of girls and, when he himself is accused of wanting to touch the bosom of a man’s wife, fears that this minor transgression will diminish him in the eyes of his mother and the community. The darkness of the characters stands in stark contrast to the pastoral landscape: Adolescents hatch plots beneath the surface of a sunflower field, young ladies are sent to live with distant relatives for their dalliances with married men, or go to prison for botched abortions. When his friend spills another’s blood, the narrator is both wounded and infected with the impulse to violence. In this narrative of a transformation, we are left wondering whether the chill of emotional exile is externally imposed, or a product of the narrator’s own volition.
Episodic and often surreal, with dark, complicated psychological undercurrents.Pub Date: Nov. 1, 2009
ISBN: 978-1-933372-90-7
Page Count: 120
Publisher: Europa Editions
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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...
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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