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THE ANGEL OF LOSSES

Readers may enjoy this two-tier story more for its accessible romantic and family dramas than its convoluted religious...

Figures from Jewish mysticism and mythology, a Russian grandfather’s legacy and the fate of a newborn child entwine in an inventive if at times obscure debut.

With its wheeling stars, magical rabbi, disgraced angels, black dogs and European hinterland, Feldman’s novel—though set substantially in contemporary New York—has the flavor of Chagall’s visionary art. Its central characters are previously devoted sisters Marjorie and Holly Burke, whose close relationship has been disrupted by Holly’s unexpected marriage to an orthodox Jew, Nathan. Marjorie, the studious one, is working on a Ph.D. about the Wandering Jew, while Holly has given birth to her first child, Eli, named after the girls’ grandfather (who died recently, and to whom Marjorie was especially close). Searching through old Eli’s possessions, Marjorie finds one of four notebooks in which he wrote stories of the White Rebbe, a religious guru of great stature who carries the Sabbath Light and owes a promise to the Angel of Losses. While seeking the other three books, Marjorie meets Simon, another student doing research in a similar area, who will become her lover; she also repeatedly encounters a strange, possibly sinister elderly man with piercing blue eyes who gives her an amulet and seems to know a lot about old Eli. As Marjorie learns the truth about her grandfather’s tragic past, young Eli falls gravely ill and Nathan disappears. By turns gothic, heart-rending and impenetrable, Feldman’s story sometimes seems too wrapped up in its theology but eventually reaches a cosmic climax in which Marjorie embraces her destiny while re-establishing her connection to Holly.

Readers may enjoy this two-tier story more for its accessible romantic and family dramas than its convoluted religious arcana, but Feldman devotes passionate storytelling and powerful narrative skills to both.

Pub Date: July 29, 2014

ISBN: 978-0-06-222891-8

Page Count: 272

Publisher: Ecco/HarperCollins

Review Posted Online: May 18, 2014

Kirkus Reviews Issue: June 1, 2014

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HOUSE OF LEAVES

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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THE SECRET HISTORY

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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