by China Miéville ‧ RELEASE DATE: Aug. 4, 2015
Bradbury meets Borges, with Lovecraft gibbering tumultuously just out of hearing.
Horror, noir, fantasy, politics, and poetry swirl into combinations as satisfying intellectually as they are emotionally.
Miéville (Railsea, 2012, etc.) has a habit of building his narratives by taking a metaphor, often about a political or social issue, and asking what would happen if it were literally true. His masterful 2009 novel The City and the City (Locus, Hugo, and Arthur C. Clarke awards), for example, explored two metropolises with entirely separate populations, governments, infrastructures, and even clothing styles that shared a single geographical location. In less-capable hands, this method might result in mere gags or dead horses endlessly beaten. (Good thing this isn’t a Miéville story, or you’d be wiping off bits of rotten horseflesh.) In Miéville’s hands it ranges from clever to profound. In “Dreaded Outcome,” the narrator, a Brooklyn psychotherapist, practices “traumatic vector therapy,” a style that incorporates military and martial arts techniques. (Like that therapist, Miéville often mixes styles and genres, in this case academic discourse and noir.) “Most of the time what our patients need is a compassionate, rigorous, sympathetic interlocutor. Sometimes the externalized trauma-vectors in dysfunctional interpersonal codependent psychodynamics are powerful enough that more robust therapeutic interventions are necessary. I checked my ammunition.” That readers can guess what will happen after the narrator learns her own therapist is also a TVT practitioner makes the ending no less satisfying. In “Polynia,” the ghosts of vanished geologic and ecologic features haunt the warmed globe, with icebergs floating in the air over London, coral forming the “Great Brussels Reef,” and rain forest undergrowth shutting down factories in Japan. Other stories are more open-ended. In “The Dusty Hat,” members of a political organization have split off from “the Mothership” to form “the Left Faction.” The story opens with the narrator contemplating a crack in his (or her?) wall and ceiling; by the time it ends, he’s discovered a vast politics of the inanimate, with its own schisms. “I poured myself a glass of water. I didn’t like how it looked at me.” As a mysterious, not-entirely-animate figure tells him, the “loyalist” crack in his wall has been watching him: “The split was against you in the split.”
Bradbury meets Borges, with Lovecraft gibbering tumultuously just out of hearing.Pub Date: Aug. 4, 2015
ISBN: 978-1-101-88472-0
Page Count: 400
Publisher: Del Rey/Ballantine
Review Posted Online: May 20, 2015
Kirkus Reviews Issue: June 1, 2015
Share your opinion of this book
More by Keanu Reeves
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
Share your opinion of this book
More by Donna Tartt
BOOK REVIEW
by Donna Tartt
BOOK REVIEW
by Donna Tartt
More About This Book
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
Share your opinion of this book
More by Mark Z. Danielewski
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
© Copyright 2024 Kirkus Media LLC. All Rights Reserved.
Hey there, book lover.
We’re glad you found a book that interests you!
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Don’t fret. We’ll find you.