Delijani falls back on her family’s personal experience to write this searing and somber slice-of-life novel, centered...
Iran-born Delijani pens a horrifying picture of life in her home country in this sad yet compelling first novel.
Evin Prison provides the backdrop for Neda’s first days. Her mother, Azar, is driven through the streets of Tehran in 1983 as some of her captors take her to the hospital for the birth of her child. But their cruelty and reluctance to treat their prisoners like human beings are made even clearer by the way they stop along the way in order to grill Azar about her politics. They finally allow her to have her child at a hospital but refuse to let her rest after the birth, even though a doctor insists she must stay for further treatment. Four years later, little Omid sits in his family’s kitchen preparing to eat his dinner when government agents storm his home and drag his mother and father off, leaving him to the care of his aging grandparents and his aunt, who has seen two of her sisters disappear into government-run prisons. Then there are Maryam and her loving husband, Amir. Held in filthy conditions in a detention center that is part of Evin Prison, Amir dreams only of his pregnant wife’s loving arms and their beloved countryside. What he receives is anything but comforting. Facing trial, he finally meets his little daughter, Sheida, born while he was imprisoned. Switching back and forth during the years of war with Iraq and more current history, the book follows the three young people and family members as they navigate the minefield of Iranian dissent. Delijani is exceptionally talented as a writer, and the subject matter is both compelling and timely, however some of her imagery is jarring and seems out of place, and the relentlessly depressing storyline may make some readers uncomfortable.
Delijani falls back on her family’s personal experience to write this searing and somber slice-of-life novel, centered around children whose parents were singled out for persecution by the Iranian government, and scores a win with her grittiness and uncompromising realism.Pub Date: June 18, 2013
ISBN: 978-1-4767-0909-3
Page Count: 288
Publisher: Atria
Review Posted Online: March 2, 2013
Kirkus Reviews Issue: March 15, 2013
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
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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