THE WAY INN

Name: THE WAY INN
Author: Will Wiles
ISBN: 978-0-06-233610-1

by Will Wiles ‧ RELEASE DATE: Sept. 16, 2014

Wiles has a guileful—dare one say wily?—intellect and provides a telling commentary on the emptiness of much of modern...

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Kafka updated to the 21st century.

Neil Double has an unusual profession—he’s a conference surrogate, so he spends his life substituting for those who either cannot attend or are not interested in attending conferences. While his life is not carefree, he is able to revel in the relative anonymity of lobbies, hotel rooms, canned music and superficial social encounters. His particular favorite place to stay is a chain of nearly identical hotels called “The Way Inn” (like Double’s name, a self-conscious pun), and the latest conference he’s attending is with Meetex, a conference about…conferences. Trying to drum up some business, Double has a conversation with a Tom Graham, eagerly explaining how conference surrogacy works, but it turns out that Graham is actually Tom Laing, event director of Meetex. Laing then publicly rails against conference “pirates” like Double who attend conferences on behalf of others and whose “doubling” can actually replace several other attendees and thus hurt business. Double feels he’s been had, especially once he returns to The Way Inn and finds out his conference pass has been voided, so he can no longer access his room or the bus that ferries conferees to the MetaCentre where the Meetex conference is taking place. Double finds out how quickly he becomes a nonentity when he no longer exists through his laminated pass, and his attempts to “unvoid” his pass become both comic and surreal. Meanwhile, he’s trying to track down a woman named Dee, whose interest lies in photographing the abstract paintings on the walls in various Way Inns because “they are an approximation of what a painting might look like, a stand-in for actual art.”

Wiles has a guileful—dare one say wily?—intellect and provides a telling commentary on the emptiness of much of modern culture as Double and Dee find that The Way Inn has the same infinite structure of nightmare as Kafka’s Castle.

Pub Date: Sept. 16, 2014

ISBN: 978-0-06-233610-1

Page Count: 352

Publisher: Perennial/HarperCollins

Review Posted Online: Aug. 13, 2014

Kirkus Reviews Issue: Sept. 1, 2014

Categories:

LITERARY FICTION

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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HOUSE OF LEAVES

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...

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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.