by Sam Savage ‧ RELEASE DATE: Feb. 12, 2013
Stream-of-consciousness fiction with a satisfying emotional weight: another intriguing experiment in narrative voice from...
An aging, embittered art collector looks back on a life defined by his brief friendship with a successful painter.
Sardonic humor leavens what would otherwise seem like a solipsistic reckoning of Harold Nivenson’s injuries, beginning with mean siblings and culminating with the death of his dog, Roy, some vague amount of time earlier. Harold lives in a decaying house in an urban area that has morphed from “a district of aging working-class white people drinking cheap beer on collapsing porches...[into] a neighborhood of middle-class breeders.” He thinks of himself as alone and friendless, though a woman named Moll (whose relationship to him is initially unclear) has moved in to care for him, and the son he calls Alfie (not his real name) pays frequent visits. Harold is unwilling to acknowledge any attachment save Roy’s; the routines of owning a dog gave his shattered life meaning, and he imagines Roy sharing the canine wisdom that “[e]very day is all there is.” By contrast, Harold believes Alfie has come only to get his art collection appraised, and his bitter memories of Peter Meininger—creator of the sole valuable painting, according to the appraiser—characterize the artist as a user who took refuge in Harold’s house, worked there and slept with Harold’s wife, then decamped, leaving Nude in Deck Chair as an insulting reminder of the wife’s infidelity. Harold is at first an alienating narrator, as he snipes at everyone from his neighbors to his relatives, but we gradually see that he has never been as detached from the world as he pretends and that he is in fact hungry for human contact. Though he decries even the stark basic scenario of “man is born, suffers, and dies” as “too much of a story,” Harold comes to accept love—maybe even to think about giving it in return.
Stream-of-consciousness fiction with a satisfying emotional weight: another intriguing experiment in narrative voice from Savage (Glass, 2011, etc.).Pub Date: Feb. 12, 2013
ISBN: 978-1-56689-312-1
Page Count: 152
Publisher: Coffee House
Review Posted Online: Oct. 10, 2012
Kirkus Reviews Issue: Nov. 1, 2012
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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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