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SO MUCH BLUE

The author’s deft plotting and wry wit sustain multiple levels of intrigue, not only about how each of the subplots resolves...

An artist ponders a painting he wants to keep private along with the back stories that inspired it, the secrets that continue to haunt him.

Everett (Half an Inch of Water, 2015, etc.) continues to wrestle with issues such as artistic identity and inspiration, the relation between artists and their art, the notions of what a narrator reveals and conceals, but rarely have the results been as engrossing as this. There are three separate plot strands, skillfully interwoven, each informing the others. In the present tense, protagonist Kevin Pace, the first-person narrator, is obsessed with a large, abstract painting, a work in progress that mixes various shades of blue. He eventually reveals that he's a recovering alcoholic, now a workaholic, absorbed in his painting and his memories while generally removed from his wife and children. Ten years earlier he had a passionate affair in Paris with a Frenchwoman much younger than he. Twenty years before that, he traveled with his best friend to El Salvador, then in the midst of violent revolution, to return his friend’s brother to the U.S. The brother was likely involved with drugs, almost certainly using them, perhaps smuggling and dealing them. While there, the artist saw and did things that he has never been able to confess to anyone, but when he returned, he was “distant. Different.” He was also committed to marrying the woman who noticed these differences in him, though he’d been unsure about marriage before he left. The story unfolds through short chapters that alternate among the three times and places as the reader learns more about the artist and his painting, but the artist also discovers more about himself: “Ten years earlier I had succumbed to a banal midlife crisis, but now I was falling victim to something far worse, a late-life revelation.”

The author’s deft plotting and wry wit sustain multiple levels of intrigue, not only about how each of the subplots resolves itself, but how they all fit together.

Pub Date: June 13, 2017

ISBN: 978-1-55597-782-5

Page Count: 256

Publisher: Graywolf

Review Posted Online: March 20, 2017

Kirkus Reviews Issue: April 1, 2017

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THE SECRET HISTORY

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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HOUSE OF LEAVES

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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