Huge, deep-delving movie-lover's delight—and as rich a novel about the metaphysics of moviemaking as has ever been—by the author of The Making of a Counter Culture and 1984's unconvincing Dreamwatcher. Sometime in the mid-1950's, UCLA student Jonathan Gates starts attending the grungy hole-in-the-wall art-film movie-house The Castle and catches up on postwar French and Italian films. A modest guy, he's taken under the wing of Clarissa Swann, who owns the theater and writes mimeographed handouts about every movie she plays (it's hard to miss strong overtones of Pauline Kael in Clare). Jonny falls spellbound by the Thirties trash films of Max Castle, the earliest of all film noir stylists, but Clare resists Castle's spell. Even so, she helps Jonny, now her lover, put together a master's thesis on Castle after she and Jonny meet the aged dwarf Lips Lipsky, who was once Castle's cameraman and has the original negatives of all of Castle's Hollywood films. Using a unique device of Lips's called a multifilter, Jonny discovers that all of Castle's films have secret scenes printed subliminally over the doctored negatives—scenes of ghastly obscenity that leave viewers feeling unclean and turned off of sex. In writing a book about Castle and reviewing silent films Castle made in Germany as a wonderchild, Jonny unearths Castle's ties to a secret order called Orphans of the Storm, or the Cathars, a heretical pre-Christian group allied to the Dark God whose doctrines aim to end mankind as a species by curbing sex for babies and putting in its place bhoga, a yogic sex practice that avoids union but is clearly terrific. Jonny's legwork leads him into the orphanages of the God of Darkness and also carries him into the Seventies' porn and gore of the Antichrist as he readies to move into television. We follow Castle's career as he works with Orson Welles on Citizen Kane and the abandoned Heart of Darkness, with John Huston on The Maltese Falcon, etc., while making his own zombie and vampire movies. The lore on cameras, lighting, editing and so on is riveting, as is the bimillennial secret doctrine of the Antichrist being fed into the movies since their beginnings (including Shirley Temple flicks). Not a horror novel.
Pub Date: May 1, 1991
ISBN: 0-671-72831-8
Page Count: -
Publisher: Simon & Schuster
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1991
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
There’s nothing romantic about Joe’s preoccupation with Beck, but Kepnes puts the reader so deep into his head that...
An impending sense of dread hangs over Kepnes’ cleverly claustrophobic debut, in which love takes on a whole new meaning.
Told from the perspective of Joe Goldberg, a seemingly normal Manhattan bookstore employee, the narrative is structured like a long monologue to the titular “you”: a young woman, Guinevere Beck, who becomes the object of Joe’s obsessive affection. They meet casually enough at the bookstore, and since she’s an aspiring writer just starting an MFA program, they bond over literature. Seems innocuous enough, even sweet, until we learn just how far Joe will go to make Beck—her preferred name—his own. Kepnes makes keen use of modern technology to chronicle Joe and Beck’s “courtship”: He not only stalks her on Twitter, but hacks into her email account and, after casually lifting her cellphone, monitors her text messages. In Joe’s mind, he’s keeping Beck safe from what he perceives as dangers in her life, particularly the clingy, wealthy Peach Salinger (yes, a relative of that Salinger); Beck’s hard-partying ex, Benji; and her therapist, the smooth-talking Dr. Nicky. When Joe and Beck finally, inevitably get together, it only serves to ratchet up Joe’s predatory, possessive instincts. Every text is analyzed as if it were the German Enigma Code, and every email is parsed and mined for secret meaning. There’s little doubt that the relationship is doomed, but Kepnes keeps the reader guessing on just how everything will implode.
There’s nothing romantic about Joe’s preoccupation with Beck, but Kepnes puts the reader so deep into his head that delusions approach reality.Pub Date: Sept. 30, 2014
ISBN: 9781476785592
Page Count: 416
Publisher: Emily Bestler/Atria
Review Posted Online: Aug. 13, 2014
Kirkus Reviews Issue: Sept. 1, 2014
BOOK TO SCREEN
BOOK TO SCREEN
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.
A young Philadelphia policewoman searches for her addicted sister on the streets.
The title of Moore’s (The Unseen World, 2016, etc.) fourth novel refers to “a long bright river of departed souls,” the souls of people dead from opioid overdoses in the Philadelphia neighborhood of Kensington. The book opens with a long paragraph that's just a list of names, most of whom don’t have a role in the plot, but the last two entries are key: “Our mother. Our father.” As the novel opens, narrator Mickey Fitzpatrick—a bright but emotionally damaged single mom—is responding with her partner to a call. A dead girl has turned up in an abandoned train yard frequented by junkies. Mickey is terrified that it will be her estranged sister, Kacey, whom she hasn’t seen in a while. The two were raised by their grandmother, a cold, bitter woman who never recovered from the overdose death of the girls' mother. Mickey herself is awkward and tense in all social situations; when she talks about her childhood she mentions watching the other kids from the window, trying to memorize their mannerisms so she could “steal them and use them [her]self.” She is close with no one except her 4-year-old son, Thomas, whom she barely sees because she works so much, leaving him with an unenthusiastic babysitter. Opioid abuse per se is not the focus of the action—the book centers on the search for Kacey. Obsessed with the possibility that her sister will end up dead before she can find her, Mickey breaches protocol and makes a series of impulsive decisions that get her in trouble. The pace is frustratingly slow for most of the book, then picks up with a flurry of revelations and developments toward the end, bringing characters onstage we don’t have enough time to get to know. The narrator of this atmospheric crime novel has every reason to be difficult and guarded, but the reader may find her no easier to bond with than the other characters do.
With its flat, staccato tone and mournful mood, it’s almost as if the book itself were suffering from depression.Pub Date: Jan. 7, 2020
ISBN: 978-0-525-54067-0
Page Count: 496
Publisher: Riverhead
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
SEEN & HEARD
BOOK TO SCREEN
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