Beguiling, quirky stories perfectly in keeping with the rest of Kafka’s work; often troubling but sometimes delightful.
A freshly translated collection of posthumously published work by the great master of existential angst and insectoidal transformation.
Kafka did not live long, but he produced an impressive body of work, most of it written in the dark, quiet hours after midnight. Perhaps that accounts for its preternatural gloom, for no one ever cracks a smile in a Kafka story. As translator Hofmann puts it, just right, Kafka “devised for himself a life that was largely disagreeable, inflexible and inescapable, and tried to make it productive.” He succeeded on all counts. Here, a number of odd themes emerge that perhaps connect to Kafka’s penumbral ways: at times, for instance, the narrator holds some sort of night job that puts him in oblique contact with the bureaucrats and bosses who rule the day, as in “New Lamps,” in which an official at company headquarters promises a safety-minded miner better oil lamps by which to work and instructs him to tell his fellow workers, “We won’t rest until we’ve converted your mineshaft into a drawing room.” Other stories illustrate Kafka’s interest in allegories and fables, especially with an Asian coloring, as with “Building the Great Wall of China,” a sketch that speaks of the power of empire to overwhelm the individual, even though the people “are where it ultimately draws its support.” As with the title story, many of Kafka’s stories involve animals. There, the dogs in question revel in a kind of “dogdom” or “dogness” hard won by evolving from their ancestors: “Our generation may be lost,” the narrator tells us, “but it is more innocent than its predecessors.” Just so, a character in another story has “taken a great interest in Elberfeld horses,” that is, horses trained to think like humans—and it’s a short step from there to Gregor Samsa.
Beguiling, quirky stories perfectly in keeping with the rest of Kafka’s work; often troubling but sometimes delightful.Pub Date: May 23, 2017
ISBN: 978-0-8112-2689-9
Page Count: 224
Publisher: New Directions
Review Posted Online: March 6, 2017
Kirkus Reviews Issue: March 15, 2017
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
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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