A book that stuns, almost literally, with its force and its humility. A tender book. A savage book. A once-in-a-lifetime...
With a scope no smaller than human existence and no greater than the life span of a flea, Davis’ (Duplex, 2013, etc.) eighth novel navigates the territory of history, faith, family, and mortality on the backs of a caravan of cosmic siblings.
The Astronomer, the Archivist, the Botanist, the Keeper, the Topologist, the Geographer, the Iceman, and the Cook are the archetypical siblings of this haunting novel, which opens in a yoga class held in the heart of a labyrinth deep below an icy settlement at the literal end of the world. Led by the enigmatic Jee Moon, the group is meditating in corpse pose at the end of a strenuous practice. When one of them fails to arise, the remaining characters are thrust on a journey of memory through which they carry their shared childhood “like a wagon or a bindle or a hump.” It is from this slender thread that all resemblance to traditional narrative is woven. In keeping with Davis’ earlier novels—which explore interstices, numinous metamorphosis, and the stretching, twisting, crumpling, bending space between being and nonbeing—her latest effort takes place in a realm of almost pure language. The siblings’ childhoods together on Fairmount Avenue with their great and terrible Mother, their unknowable Father, and their untrustworthy Nanny occur in simultaneity with their adult lives, their separate journeys to the settlement (a symbol of the Tibetan bardo), and their future journeys toward enlightenment. The reader gathers a sense of their characteristics—the Botanist is humorless and idly flirtatious, the Iceman is bluff and lovable. However, these characteristics are meant less as markers to delineate individual characters than they are facets of the single, complex temperament of a family, or a generation, or an entire species. So, too, is the reader encouraged to relax their expectation of the book as a chronology and instead approach Davis’ singular object as a limbo of the now in which all gestures carry equal weight, all characters are interchangeable, all perspectives are “we.” The challenges of this kind of approach are formidable, but the tenacity of Davis’ language, her spellbinding images and spellbound objects, the fragile beauty of the worlds she creates in the moment of their destruction reward an open-minded reader’s labors.
A book that stuns, almost literally, with its force and its humility. A tender book. A savage book. A once-in-a-lifetime story.Pub Date: March 5, 2019
ISBN: 978-1-55597-829-7
Page Count: 144
Publisher: Graywolf
Review Posted Online: Nov. 25, 2018
Kirkus Reviews Issue: Dec. 15, 2018
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.
Ten years after her teenage daughter went missing, a mother begins a new relationship only to discover she can't truly move on until she answers lingering questions about the past.
Laurel Mack’s life stopped in many ways the day her 15-year-old daughter, Ellie, left the house to study at the library and never returned. She drifted away from her other two children, Hanna and Jake, and eventually she and her husband, Paul, divorced. Ten years later, Ellie’s remains and her backpack are found, though the police are unable to determine the reasons for her disappearance and death. After Ellie’s funeral, Laurel begins a relationship with Floyd, a man she meets in a cafe. She's disarmed by Floyd’s charm, but when she meets his young daughter, Poppy, Laurel is startled by her resemblance to Ellie. As the novel progresses, Laurel becomes increasingly determined to learn what happened to Ellie, especially after discovering an odd connection between Poppy’s mother and her daughter even as her relationship with Floyd is becoming more serious. Jewell’s (I Found You, 2017, etc.) latest thriller moves at a brisk pace even as she plays with narrative structure: The book is split into three sections, including a first one which alternates chapters between the time of Ellie’s disappearance and the present and a second section that begins as Laurel and Floyd meet. Both of these sections primarily focus on Laurel. In the third section, Jewell alternates narrators and moments in time: The narrator switches to alternating first-person points of view (told by Poppy’s mother and Floyd) interspersed with third-person narration of Ellie’s experiences and Laurel’s discoveries in the present. All of these devices serve to build palpable tension, but the structure also contributes to how deeply disturbing the story becomes. At times, the characters and the emotional core of the events are almost obscured by such quick maneuvering through the weighty plot.
Dark and unsettling, this novel’s end arrives abruptly even as readers are still moving at a breakneck speed.Pub Date: April 24, 2018
ISBN: 978-1-5011-5464-5
Page Count: 368
Publisher: Atria
Review Posted Online: Feb. 5, 2018
Kirkus Reviews Issue: Feb. 15, 2018
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
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