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CHEMISTRY

Wry, unique, touching tale of the limits of parental and partnership pressure.

Equal parts intense and funny novel about one woman’s breakdown.

The endearing unnamed narrator is a Chinese immigrant working toward her Ph.D. in chemistry at Boston University. When her kind and well-adjusted boyfriend, Eric, asks her to marry him, she is, far from being thrilled, ambivalent. Her indecision throws them into a state of limbo, as he waits to hear whether he will be offered a job in Ohio and she struggles to complete her doctorate by solving her scientific problem in the lab. The only child of an extremely demanding, rageful father and a bitter, beautiful, neglectful mother, the narrator was raised in a house of anger and violence. This makes it difficult for her to accept Eric’s love—he had such a wonderful childhood that he can't even name the worst thing his parents ever said. She has always been a scientist, quiet and focused, shutting out emotions—her childhood being what it was, the onslaught of emotions, were she to allow them in, would be too much. Eventually, she can repress no longer and has something of a mental breakdown—quitting her studies, drinking excessively, hiding out. It is this breakdown from which, over the course of the novel, she makes an incremental return to stability, finding comfort in the love of her anxious dog, her best friend and her best friend’s baby, her therapist’s questions, and eventually one of the older students she has been tutoring. Though essentially unhinged, the narrator is thoughtful and funny, her scramble understandable. It is her voice—distinctive and appealing—that makes this novel at once moving and amusing, never predictable.

Wry, unique, touching tale of the limits of parental and partnership pressure.

Pub Date: May 31, 2017

ISBN: 978-1-5247-3174-8

Page Count: 224

Publisher: Knopf

Review Posted Online: Feb. 5, 2017

Kirkus Reviews Issue: Feb. 15, 2017

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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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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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