An intriguing but potentially tiresome jeu d’esprit.
A French academic’s detailed description of his Paris apartment and its contents is full of humor and brainy mischief. But whether it’s fun is another matter.
Clerc’s first book to be translated into English is subtitled “A Novel” and presents a meticulous examination of the one-bedroom flat owned by the narrator, who is named Thomas Clerc. Each of the seven areas of the 50 square meters (538 square feet, or about the size of the average Manhattan studio in 2015) is described in a chapter comprising short passages with droll headings. The few physical feet of the “Entryway” chapter alone require 25 pages. Clerc constantly interrupts his inventory with asides, reminiscences, analyses. He recalls a 2006 burglary. His doorbell rings, but no one is there. He alludes to Hitchcock’s Family Plot. He says, “Functionalism follows the form of its function.” It’s Page 16. The doorbell rings, but no one is there. He laments the lost storage space of his pedestal-style bathroom sink, which is “privileging a columnar form for the sake of 1 sink’s singular function qua sink.” It’s Page 38 and time to ask: Is this mélange of acuity and silliness, of pseudo-sociology and OTT TMI (wonderfully translated by Zuckerman, BTW) enjoyable enough to accept 300 more pages of the same? Clerc offers a few motifs. He links his decor at several points to pieces from the game Clue. Is there an unsolved mystery at play here? Could it be tied to why he never expands on the date he bought the flat: Sept. 11, 2001? And there’s that doorbell, which repeatedly summons the narrator. He never finds anyone there. Maybe the door, like so much in the apartment, serves only to ring a bell. Perhaps the interior on display is Clerc’s mind, the flat no more than a metaphor.
An intriguing but potentially tiresome jeu d’esprit.Pub Date: July 10, 2018
ISBN: 978-0-374-17686-0
Page Count: 352
Publisher: Farrar, Straus and Giroux
Review Posted Online: April 30, 2018
Kirkus Reviews Issue: May 15, 2018
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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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