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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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.

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

Categories:

LITERARY FICTION

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THE SECRET HISTORY

by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992

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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.