by Carlos Fuentes ‧ RELEASE DATE: March 8, 1982
Fuentes rarely sets an easy task for himself in his novels; usually, in fact, he takes on some sociological, political, or philosophical enormity. And this time the challenge is especially daunting, with disquisitions on a broad range of ideas: the Old World held hostage by the New; French garden architecture; sensuality; the fascination of Latin American intellectuals with all things French; the power of ancient pre-Columbian objects; the art of narration ("a desperate attempt to reestablish analogy without sacrificing differentiation"); and memory's interaction with the past ("We imagine that the instant belongs to us. The past forces us to understand that there is no true time unless it is shared"). Oddly, however, when Fuentes packs all this imposing intellectual material into a narrative bag here, the bag seems not overstuffed (as you would expect) but softly collapsed over empty space. The framework: Fuentes as narrator is having lunch with Branly, an 83-year-old Parisian count. And Branly tells a book-length story about: his acquaintance with Heredia, a Mexican anthropologist; his invitation to Heredia and young son Victor to stay with him a while in Paris (Heredia's wife and other son were killed in a plane crash); his participation in a game of Victor's—which involves phoning any other Victor Heredia listed in the phone book; and the nightmarish sequence of events that goes on in the home of this other Victor Heredia (duplication, ghosts, homosexual reunion, cruelty, history-through-humiliation). As you may have already sensed, this plot is terribly hard to follow—especially since Fuentes combines a slow-moving Jamesian style with the elegant surrealism of late Bunuel. And there's a distracting self-consciousness throughout. So—though patient readers may find themselves gradually appreciating the meditative yet tough-minded approach here, the mode of ruminant distillation—this novel is one of Fuentes' less successful experiments: anemic when it attempts to be limpid and (even more so than usual with Fuentes) without the controlled craft to match its ambition.
Pub Date: March 8, 1982
ISBN: 1564783456
Page Count: 244
Publisher: Farrar, Straus and Giroux
Review Posted Online: Sept. 23, 2011
Kirkus Reviews Issue: March 1, 1982
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by Carlos Fuentes translated by Brendan Riley
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by Carlos Fuentes & translated by Edith Grossman
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by Carlos Fuentes & translated by Edith Grossman
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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