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THE TERRANAUTS

Amid the changing allegiances and alliances, sex eventually has consequences, though the reader wearied by two years of this...

Soap opera, satire, and religious allegory find an uneasy balance within this earthbound version of a space colony.

There’s a lot of back story in the latest from the prolific, eclectic Boyle (The Harder They Come, 2015, etc.). As a scientific experiment in the “ecology of closed systems,” with lessons learned for when “we’d have to seed life elsewhere—on Mars, to begin with,” four men and four women are chosen by Mission Control (from 16 finalists) to live in a sealed compound in the Arizona desert for two years. They are designated “Mission Two” after an unfortunate accident aborted “Mission One.” Ultimately, the grand design calls for 50 such two-year missions, a full century of data collection. Three different first-person narrators provide alternating perspectives in separate chapters that advance the plot. Dawn and Ramsay have both been chosen, like the rest, because of media attractiveness to bring public support to an enterprise that relies on it, while Linda, a Korean-American also-ran who remains behind as a monitor on those under glass, feels like her looks and ethnicity have unfairly deprived her. Ramsay maintains that “there are winners and losers in life” and that Linda “was one of the losers.” Dawn and Linda have bonded throughout the training and selection process, but Linda now finds herself transitioning “from best friend to frenemy.” Though the plot also involves a God and a Judas in Mission Control, and eventually an Eve as well, the focus throughout these 500-plus pages rarely shifts from its central obsession: who among “what our species has come to consider prime breeding stock” will pair with whom? Those on the inside gossip and speculate, as does Mission Control, as does the public at large. “Since we were all unmarried, there was endless speculation in the press about which of us might pair up, one rag even going so far as to post odds,” writes Dawn.

Amid the changing allegiances and alliances, sex eventually has consequences, though the reader wearied by two years of this might not much care.

Pub Date: Oct. 25, 2016

ISBN: 978-0-06-234940-8

Page Count: 528

Publisher: Ecco/HarperCollins

Review Posted Online: July 18, 2016

Kirkus Reviews Issue: Aug. 15, 2016

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NORMAL PEOPLE

Absolutely enthralling. Read it.

Awards & Accolades

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  • Kirkus Reviews'
    Best Books Of 2019


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A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!

Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.

Absolutely enthralling. Read it.

Pub Date: April 16, 2019

ISBN: 978-1-984-82217-8

Page Count: 288

Publisher: Hogarth

Review Posted Online: Feb. 17, 2019

Kirkus Reviews Issue: March 1, 2019

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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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