Poet Hustvedt's first novel is unabashedly cerebral, a disturbing and disarming fiction that explores the mysteries of identity. It's a postmodernist puzzle with a queasy eroticism and hints of perversion, and owes much to the work of Beckett, DeLillo, and her husband, Paul Auster. But Hustvedt adds to their explorations in silence and unspeakability her distinctly feminine voice: innocent, intimate, victimized. These four related narratives circle around the life of Iris Vegan, a distraught and hypersensitive graduate student in literature at Columbia. A beautiful, blue-eyed blond from the Midwest, she's continually at the mercy of others, mostly men who shroud themselves in mystery. Iris's first story finds her working as an assistant to a strange writer, a collector of women's discarded objects, who asks her to record her observations so that he may reconstruct their previous owners. After playing this bizarre Scheherazade, Iris is unalterably changed, but not as dramatically as in her second narrative, in which a photographer's portrait of her proves an invasion of her privacy. Her boyfriend at the time admits that cruelty makes him "feel more alive.'' As her personality begins to disintegrate, Iris (in the third piece) admits to minor hallucinations, which land her in the hospital whacked out on Thorazine and tormented by one of her roommates, a withered old woman who also desires her in some strange way. To demonstrate further that "distortion is part of desire,'' Iris then alters herself, taking on the role of a brutal boy, a role she has adopted from a German novella she co-translates with her professor/lover. Roaming the city in drag, she indulges her fantasies until the much older professor catches her in disguise. In playful "blindness,'' she loses all sense of self but also turns out to be as mysterious as all her tormentors, so that we wonder, just who is playing with whom? Hustvedt brings her dark urban landscape to life with her camera eye and Iris's tenacious, Midwestern common sense—the perfect balance to all the existential weirdness.
Pub Date: May 1, 1992
ISBN: 0-671-75953-1
Page Count: 208
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1992
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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