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DARLING GIRL

An affecting portrayal of an emotionally abandoned girl.

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In this debut novel, a child grows up under the shadow of her family’s dysfunction. 

When DG’s mother, Margaret, begins to leave home for extended hiatuses, the girl is far too young—only 5 years old—to understand why. Her father, Alcide Louis Pitre, blames it on her recurrent fatigue, and her grandpa chalks it up to extreme sensitivity: “Your mama, I think she just feels too much. Feels everything too much.” When Margaret is around, she seems to float in and out of a fuguelike trance, sometimes sleeping the entire day away, leaving DG to tend to her younger siblings. One day, she greets DG with warm affection but forgets her name, a moment heart-rendingly captured by Watkins. Alcide is a pipeliner, and as a result, the family moves often and broadly—Louisiana, Georgia, Texas, Australia, South Africa—and that peripatetic rootlessness only adds to DG’s feelings of dislocation. But over time, she starts to see evidence that her mother’s chronic mental illness isn’t the family’s real disease, which is her father’s despotism. A serial philanderer, he is also maniacally controlling, physically abusing Margaret. At a neighborhood party, he’s discovered having sex with a local’s wife and unashamedly laughs off the indiscretion. While he’s capable of great sweetness, he can mercurially shift in an instant. Margaret finally asserts herself and demands a divorce, but she’s infinitely forgiving and terrified to be alone. Disgusted by her father, DG plots with her mother to find a way to decisively liberate herself from the clenched grip of his cunning dominion.  Watkins relates the entire story from DG’s first-person perspective, masterfully capturing her shifting voice from early childhood to her teens. Still, the novel’s principal strength is its beautifully conceived characters: DG and her mom are both infinitely loving but deeply wounded, and Alcide is incorrigibly unpredictable, by turns a tyrant and a charmer: “The best way to describe him is like a lighthouse beacon. As long as you are in the warmth of his regard, it seems the best place to be. Safe and bright and beautiful. Outside of his regard, there might be monsters—cold, dark, scary.” The author’s writing is self-assured and nuanced, and even in DG’s youth one can detect her precocious intelligence. In addition, the cumbersome weight of the girl’s premature domestic obligations in the absence of a responsible parent is shatteringly depicted. On two occasions, Margaret summons DG to drive a vehicle illegally—in the second instance, to help break her out of a rest home. (Margaret even provides elaborate instructions on how to look older.) One minor criticism: DG’s siblings are resigned to the background, a largely mute supporting cast. Giving them more life and agency could have furnished a fuller perspective on the family’s emotional fragility as well as Margaret’s neurasthenic stupor. Nevertheless, this is a powerful drama that impressively manages to both haunt and inspire. 

An affecting portrayal of an emotionally abandoned girl. 

Pub Date: Oct. 16, 2018

ISBN: 978-1-73226-624-7

Page Count: 300

Publisher: Green Place Books

Review Posted Online: Sept. 19, 2018

Kirkus Reviews Issue: Nov. 15, 2018

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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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