by Steven T. Bramble ‧ RELEASE DATE: Feb. 11, 2015
A dense, ambitious social saga with a sci-fi tinge.
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A literary novel chronicles a young man’s peculiar relationship to objects.
In a near future where increasing levels of technology have made people both interconnected and more isolated, Cole Scott-Knox-Under chooses a different path. A 27-year-old with eyes that “embody the observant fearful gaze of the autodidact: deep skepticism fused to emotional vulnerability,” Cole has chosen to work at Burger King, taking lunch orders while (mostly) avoiding the invasive demands of modernity. He has been instructed to wear virtual reality glasses at all times (which allow him to view his customers’ online lives as presented in clouds around their heads), though he refuses due to a strong aversion to VR that goes back to his teenage years. Cole is more attracted to the analog than the digital, compulsively collecting objects—cup lids, papers bags, plastic utensils—and storing them under his bed in his mother’s apartment. He is already balancing the pressures of family, identity, and a host of social expectations demanded by the colorful characters that populate his life, but things get really strange when the garbage Cole collects begins to speak to him. A plastic cup named Jason thanks Cole for picking him off the ground, but tells him, “There are more. They need to be rescued as well.” Cole isn’t sure if he’s crazy or uniquely sane, but whatever his neurological state, it is driving him to exhaustion. In a world where everything, both animate and inanimate, is made to be disposable, Cole desperately seeks something permanent on which to anchor his life. Bramble’s (Grid City Overload, 2012, etc.) work evokes that of many 20th-century authors who sought to grapple with their eras’ technological tumult. His postmodern maximalism calls to mind Thomas Pynchon and William T. Vollmann; his grim dystopianism, Orwell and Margaret Atwood; his overt social criticism, Richard Wright and Kurt Vonnegut. The prose is clear and precise, though it accumulates with the heft of bricks piled to form a wall. The author possesses a particular interest in the physicality and unnaturalness of the objects in Cole’s world: “Aerosol deodorant cans; wasted steel shells burnt from escaping xylyl bromide; stockpiles of burned CDs now too scratched and so laid to death; lungs withered and crusted with sulfur.” Cole may be the protagonist, but the story’s strongest personality is its authorial third-person narrator, who routinely pulls the reader away from the hero to offer essayistic digressions on the nature of technology and society using frequent (and sometimes-multipage) excerpts from sources as varied as scientific studies, Salon articles, and Will Self novels. On its own, the book represents an impressive intellectual feat. As the third volume in a triptych of novels concerned with technology’s impact on the way humans think and feel, the work confirms the prodigious talent of its author. Cerebral and often funny, this is by no means a tale for everyone. But those readers who like their fiction built on heady concepts will find this book to be a challenging and gratifying experience.
A dense, ambitious social saga with a sci-fi tinge.Pub Date: Feb. 11, 2015
ISBN: 978-1-5087-7263-7
Page Count: 444
Publisher: CreateSpace
Review Posted Online: Aug. 18, 2017
Review Program: Kirkus Indie
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
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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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000
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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