No plot, no character development, so Parish’s fluid narrative skills are wasted.
The partying is intense in this first novel, a look at America’s bright young things under a cloud or two.
The kids from Lawrenceville, a private New Jersey boarding school, are getting hammered at a birthday party in a Manhattan bar. One girl has passed out. Two guys, Tom and Clare, both seniors, volunteer to take her home. Tom Alison, the narrator, was the school’s pot dealer until he was busted; now he’s on probation. Clare Savage was one of Tom's clients. His father, Michael, has been much in the news: A money manager targeted by the Feds for insider trading, he's fled the country. Columbia has withdrawn its offer to Tom, and Clare is stuck on the waitlist for Yale, so they have thwarted ambitions in common. Tom’s single mom, who has a lucrative catering business in Princeton, invites Clare to stay with them. The other new person in Tom’s life is Kelsey, who designs clothes in St. Andrews, Scotland, where Tom is headed (small world); he and Clare will lie low at the university there. St. Andrews is a party campus. The town is all pubs. The first one Tom enters, oh joy, reveals Prince William (the year is 2003). He’s kicking back with his mate Jules, Kelsey’s new/old boyfriend; Jules owns a castle, a good catch for a Jersey girl. Drugs are everywhere. Will may be prince, but cocaine is king. The action recalls another debut, Less Than Zero, but Bret Easton Ellis’ novel was permeated by nihilism; it had a worldview. Parish just skips blithely from one binge to the next, no direction in mind. He flies in the fugitive financier for a banal meeting with Tom, then sends the boys home for Christmas, scaring up some drama around Tom’s best friend, Casey, a major coke dealer, before whisking the whole gang back to Scotland for some poorly staged mayhem at Kelsey’s big-bucks fashion show.
No plot, no character development, so Parish’s fluid narrative skills are wasted.Pub Date: May 29, 2014
ISBN: 978-0-670-01642-6
Page Count: 288
Publisher: Viking
Review Posted Online: March 31, 2014
Kirkus Reviews Issue: April 15, 2014
BOOK REVIEW
Miller makes Homer pertinent to women facing 21st-century monsters.
A retelling of ancient Greek lore gives exhilarating voice to a witch.
“Monsters are a boon for gods. Imagine all the prayers.” So says Circe, a sly, petulant, and finally commanding voice that narrates the entirety of Miller’s dazzling second novel. The writer returns to Homer, the wellspring that led her to an Orange Prize for The Song of Achilles (2012). This time, she dips into The Odyssey for the legend of Circe, a nymph who turns Odysseus’ crew of men into pigs. The novel, with its distinctive feminist tang, starts with the sentence: “When I was born, the name for what I was did not exist.” Readers will relish following the puzzle of this unpromising daughter of the sun god Helios and his wife, Perse, who had negligible use for their child. It takes banishment to the island Aeaea for Circe to sense her calling as a sorceress: “I will not be like a bird bred in a cage, I thought, too dull to fly even when the door stands open. I stepped into those woods and my life began.” This lonely, scorned figure learns herbs and potions, surrounds herself with lions, and, in a heart-stopping chapter, outwits the monster Scylla to propel Daedalus and his boat to safety. She makes lovers of Hermes and then two mortal men. She midwifes the birth of the Minotaur on Crete and performs her own C-section. And as she grows in power, she muses that “not even Odysseus could talk his way past [her] witchcraft. He had talked his way past the witch instead.” Circe’s fascination with mortals becomes the book’s marrow and delivers its thrilling ending. All the while, the supernatural sits intriguingly alongside “the tonic of ordinary things.” A few passages coil toward melodrama, and one inelegant line after a rape seems jarringly modern, but the spell holds fast. Expect Miller’s readership to mushroom like one of Circe’s spells.
Miller makes Homer pertinent to women facing 21st-century monsters.Pub Date: April 10, 2018
ISBN: 978-0-316-55634-7
Page Count: 400
Publisher: Little, Brown
Review Posted Online: Jan. 22, 2018
Kirkus Reviews Issue: Feb. 1, 2018
PROFILES
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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