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HOMEGOING

A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

Awards & Accolades

Our Verdict

  • Our Verdict
  • GET IT


  • Kirkus Reviews'
    Best Books Of 2016


  • New York Times Bestseller

A novel of sharply drawn character studies immersed in more than 250 hard, transformative years in the African-American diaspora.

Gyasi’s debut novel opens in the mid-1700s in what is now Ghana, as tribal rivalries are exploited by British and Dutch colonists and slave traders. The daughter of one tribal leader marries a British man for financial expediency, then learns that the “castle” he governs is a holding dungeon for slaves. (When she asks what’s held there, she’s told “cargo.”) The narrative soon alternates chapters between the Ghanans and their American descendants up through the present day. On either side of the Atlantic, the tale is often one of racism, degradation, and loss: a slave on an Alabama plantation is whipped “until the blood on the ground is high enough to bathe a baby”; a freedman in Baltimore fears being sent back South with the passage of the Fugitive Slave Act; a Ghanan woman is driven mad from the abuse of a missionary and her husband’s injury in a tribal war; a woman in Harlem is increasingly distanced from (and then humiliated by) her husband, who passes as white. Gyasi is a deeply empathetic writer, and each of the novel’s 14 chapters is a savvy character portrait that reveals the impact of racism from multiple perspectives. It lacks the sweep that its premise implies, though: while the characters share a bloodline, and a gold-flecked stone appears throughout the book as a symbolic connector, the novel is more a well-made linked story collection than a complex epic. Yet Gyasi plainly has the talent to pull that off: “I will be my own nation,” one woman tells a British suitor early on, and the author understands both the necessity of that defiance and how hard it is to follow through on it.

A promising debut that’s awake to emotional, political, and cultural tensions across time and continents.

Pub Date: June 7, 2016

ISBN: 978-1-101-94713-5

Page Count: 320

Publisher: Knopf

Review Posted Online: March 1, 2016

Kirkus Reviews Issue: March 15, 2016

THE SECRET HISTORY

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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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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