Richly complex and genuinely tragic, painfully cognizant of the lethal interaction among human weakness, skewed societal...
Working in the towering tradition of Dreiser, Amidon (The New City, 2000, etc.) insightfully examines financial maneuvers that lead to personal catastrophe for three families in a Connecticut suburb.
Drew Hagel, whose real estate firm has been floundering ever since his first wife left him a decade ago, has invested money he doesn’t really have in the hedge fund of Quint Manning, a cool ultra-rationalist who gets fabulous returns betting on the volatility of global markets. Without those returns, Drew can’t afford to send daughter Shannon to college or hang onto the house he inhabits with his very pregnant second wife. Quint has his own problems: son Jamie, buffeted by dad’s exacting expectations, has been drinking so heavily that Shannon recently broke off their relationship; wife Carrie, the novel’s boozy moral conscience, is disgusted by their privileged life and her role in it. Shannon gets a glimpse of how this world looks from the underside through her passionate love affair with Ian Warfield, on probation for a drug rap he took for his uncle and guardian David, a limousine driver who dreams of using money left to Ian by his dead mother to buy a bar in North Carolina. When dead-drunk Jamie asks Shannon to drive him home from a party and Ian accidentally hits a bicyclist with Jamie’s Jeep, disaster unfolds for all these flawed, fallible people whose basic decency is trumped by their individual demons and their flailing attempts to find a foothold in a society in which “the lesson on offer was that you’d better win.” Vulnerable, deeply troubled Ian suffers the most hideous consequences; the story’s scathing, though never overstated, conclusion is that rich folks will generally get off the hook. But no one is left unharmed, and Drew’s shameful actions, prompted by a squirmingly plausible blend of self-interest and a pathetic desire to be decisive, result in the bitter alienation of his wife and daughter.
Richly complex and genuinely tragic, painfully cognizant of the lethal interaction among human weakness, skewed societal values, and the random blows of fate.Pub Date: Oct. 1, 2004
ISBN: 0-374-17350-8
Page Count: 384
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2004
BOOK TO SCREEN
BOOK TO SCREEN
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
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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