by Toni Morrison ‧ RELEASE DATE: Nov. 14, 2008
Better seen as a lengthy prose poem than a novel, this allusive, elusive little gem adds its own shadowy luster to the Nobel...
Abandonment, betrayal and loss are the somber themes of this latest exploration of America’s morally compromised history from Morrison (Love, 2003, etc.).
All the characters she sets down in the colonial landscape circa 1690 are bereft, none more evidently so than Florens, 16-year-old slave of Jacob Vaark and his wife Rebekka. Eight years earlier, Anglo-Dutch farmer and trader Jacob reluctantly took Florens in settlement of a debt from a Maryland landowner. Her own mother offered her—so as not to be traded with Florens’ infant brother, the girl thinks. (The searing final monologue reveals it was not so simple.) Florens joined a household of misfits somewhere in the North. Jacob was a poor orphan who came to America to make a new start; Rebekka’s parents essentially sold her to him to spare themselves her upkeep. The couple has shared love, but also sadness; all four of their offspring died in childhood. They take in others similarly devastated. Lina, raped by a “Europe,” has been cast out by her Native American tribe. Mixed-race Sorrow survived a shipwreck only to be made pregnant by her rescuer, who handed her over to Jacob. Willard and Scully are indentured servants, farmed out to labor for Jacob by their contract holders, who keep fraudulently extending their time. Only the free African blacksmith who helps Jacob construct his fancy new house—and who catches Florens’ love-starved eye—seems whole and self-sufficient, though he eventually falls prey to Florens’ raging fear of abandonment. Morrison’s point, made in a variety of often-melodramatic plot developments, is that America was founded on the involuntary servitude of blacks and whites, that the colonies are rife with people who belong nowhere else and anxiously strive to find something to hold onto in the New World. Gorgeous language and powerful understanding of the darkest regions in the human heart compensate for the slightly schematic nature of the characters and the plot.
Better seen as a lengthy prose poem than a novel, this allusive, elusive little gem adds its own shadowy luster to the Nobel laureate’s shimmering body of work.Pub Date: Nov. 14, 2008
ISBN: 978-0-307-26423-7
Page Count: 176
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2008
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by Toni Morrison edited by David Carrasco Stephanie Paulsell Mara Willard
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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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