A southern boy’s fantasy of coming of age under the guidance of his languorous older aunt could make this a sneaky sleeper.
Watson (Deadly Sweet, 1994, etc.) serves up a nicely packed if sentimental and ultimately melodramatic teenage romp-turned-violent in an Eisenhower-era Florida town.
Here are all the elements of a classic southern horror tale: bored and sex-mad teenagers; early rock-’n’-roll music on car radios; moonshine; and a mean-eyed, laconic sheriff. With his Japanese mother in an insane asylum back in Omaha and his WWII-veteran father unable to care for him, 12-year-old Travis is spending the summer with his Grandma and Grandpa Hollister (Grandpa is also the sheriff) and their savvy, hot-footed 16-year-old daughter, Delia, in Widow Rock, Florida. Despite Travis’s youth, he gets hip to the local mores fast and falls hard for his aunt Delia, whose elusive Natalie Wood beauty and dishy secrets prove the unraveling of several of the local boys. Delia introduces Travis to cruising in her Chevy, skinny-dipping, and the fatal lure of rock’-n’-roll, and he becomes “Killer,” after Jerry Lee Lewis, a name he’ll grow into in a horrifying manner over the summer: The is the summer Travis will become a man by having to protect Delia from herself. Watson’s meticulous, insouciant first-person narrative gains suspense by minuscule degrees, so that what starts as a sweet-tempered parody of a James Dean movie—the local greaser reads The Subterraneans, the kids talk about “dreamboats” and being “cool,” and the big black cook, named Marvadell, is always crying “Humph!” in the kitchen—gradually turns sordid and sharp. Watson toys with southern stereotypes and nostalgia for the days of jukebox music, soda fountains, red Oldsmobiles, and The Creature from the Black Lagoon; and while Travis’s desperately wrong-headed attempts to save Delia pull the story down into a grisly modern psychotherapy, the tale nonetheless provides some delicious page-turning.
A southern boy’s fantasy of coming of age under the guidance of his languorous older aunt could make this a sneaky sleeper.Pub Date: Nov. 4, 2002
ISBN: 1-4022-0017-X
Page Count: 336
Publisher: Sourcebooks Landmark
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2002
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
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
© Copyright 2026 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
