Concise but densely packed and subtle in its satire. Well-known in Russia, Slavnikova is a writer American readers will want...
Darkly sardonic novel of life in a post-Soviet Russia that keeps looking longingly to its totalitarian past.
Alexei Afanasievich Kharitonov served in the Great Patriotic War as a scout, his specialty dispatching the enemy by strangulation “without noise or weapon.” Now, half a century later, he lies paralyzed in his family’s dreary apartment, felled by a stroke. For a decade and a half, his body has stubbornly refused to die. This is all to the good, as far as his family is concerned, for they rely on his pension. In a scenario reminiscent of the 2003 German film Good Bye, Lenin!, his stepdaughter, Marina, who “had divined in the decrepit general secretary’s replacement by a younger, more energetic one not a pledge of Soviet life’s continuity but the beginning of the end,” concocts a scheme to keep the apartment just as it was in the Soviet days even though things have changed irrevocably outside. Marina edits the daily edition of Pravda to be sure that no word of the collapse of the Soviet Union sneaks through, not quite sure whether her stepfather is able to comprehend anything at all but taking no chances. He does, and he wants nothing more than to end it all, having silently “declared war on his own immortality.” Will he live forever in that shrine to Soviet life, complete with a portrait of Leonid Brezhnev that Marina stole from a university journalism archive? Slavnikova’s novel, following on her 2017, which won the 2006 Russian Booker Prize, is oddly timely, for there are all sorts of understated hints about voter fraud, graft, payoffs, and the endless promises of politicians who have no intention of keeping them. It is also deftly constructed, portraying a world and a cast of characters who are caught between the orderly if drab world of old and the chaos of the “new rich” in a putative democracy.
Concise but densely packed and subtle in its satire. Well-known in Russia, Slavnikova is a writer American readers will want to have more of.Pub Date: Jan. 29, 2019
ISBN: 978-0-231-18595-0
Page Count: 272
Publisher: Columbia Univ.
Review Posted Online: Oct. 3, 2018
Kirkus Reviews Issue: Oct. 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
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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