Although Goldschmidt gives him a distinctive, if repellent voice, Mordechai reports the events of his life in a deadening...
Dutch author Goldschmidt’s first novel, an attempt to fictionalize the history of a Dutch pharmaceutical company that survived World War II although it was owned by Jews, offers a less than savory view of business ethics.
Twin brothers Mordechai and Aaron De Paauw inherit the family butcher business in the early 1920s when they're only 27. Ambitious Mordechai is soon running things while mild-mannered, morally upright Aaron remains in the background. In 1923, Mordechai teams up with Rafaël Levine, a Jewish scientist from Germany, to found Farmacon, which will manufacture insulin from animal pancreas excretions. The partnership flourishes, making scientific discoveries and lots of money, although Mordechai chafes at Levine’s efforts to hire as many German-Jewish refugees as possible. Ironically, Mordechai marries Rivka, the daughter of one of the German scientists, who bears him four daughters and a son. Meanwhile, Mordechai, a self-styled ladies' man, enjoys summoning female employees to his office to “seduce” them and wonders at Aaron’s lack of sex drive. Without Levine’s knowledge, Mordechai arranges for his brother to test out the testosterone Farmacon has been developing. The result drives Aaron temporarily insane with lust, and he goes to prison in 1938 without divulging Mordechai’s culpability. As the Nazis arrive, Mordechai escapes Holland with his family although Rivka, having learned about Mordechai’s predatory sexual activities, ends their marriage. But Mordechai’s primary concern is Farmacon’s continuing growth even as the war rages and those he left behind suffer. Returning to the postwar Netherlands, he breaks with Levine because Levine’s German (though Jewish) background might hurt business. Rivka, Aaron and Levine have all become fodder for Mordechai’s greed. Even as an old man approaching death, he has no epiphany to leaven the reader’s perception that he is a narcissistic creep.
Although Goldschmidt gives him a distinctive, if repellent voice, Mordechai reports the events of his life in a deadening follow-the-dots style that does nothing to mitigate the novel’s simplistic portrayal of nobility versus capitalist evil.Pub Date: Nov. 11, 2014
ISBN: 978-1-59051-649-2
Page Count: 267
Publisher: Other Press
Review Posted Online: Aug. 24, 2014
Kirkus Reviews Issue: Sept. 15, 2014
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
These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.
Pub Date: Jan. 1, 1942
ISBN: 0060652934
Page Count: 53
Publisher: Macmillan
Review Posted Online: Oct. 17, 2011
Kirkus Reviews Issue: June 15, 1943
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