A caustic portrait of the blank generation facing middle age.
French punk rockers get old.
There’s a lot of Gen X history here, some aging French pop culture, and a general feeling of hysteria at living in a dystopian time. Let’s start from the top. Despentes (Pretty Things, 2018, etc.) is a French writer, filmmaker, etc. who is most famous for her debut novel, Baise-Moi (1992), which she adapted and directed into the controversial cult film. Like her characters, the author seems to have aged but not grown, which isn’t all that troublesome at a time when Danny Boyle has fashioned Irvine Welsh’s profane swindlers from Trainspotting (1993) into a sequel. This is literally a portrait gallery of French punk rockers passing middle age, most of them badly. The central figure is the titular 50-ish Vernon Subutex, who can pretty much be summed up by “used to own a record store.” (Thanks, High Fidelity.) Much like a TV series (Surprise! There's already a French series based on this book), this is a soap-operatic portrait of a variety of burnouts rather than an actual narrative. With Vernon as the central figure and the death of famous rock star Alex Bleach as the semi-uniting event, Despentes drops in on the lives of a dozen or so desperate people who don’t know how to fill the holes in their own lives. Vernon is simple: He's broke and couch-hopping at the best of times. Most notable is Xavier Fardin, nominally a screenwriter but mostly a psycho who makes Welsh’s Begbie look like a lapdog by comparison. We also visit Vernon’s weird ex, Sylvie; Laurent, a successful but obsessive filmmaker; ex-porn star Pamela, who is still competing with her dead rival; and Lydia Bazooka, a journalist who doesn’t know it’s too soon to start a biography of Alex. The writing here is evocative of any number of transgressive writers, including Welsh and Kathy Acker, but while the characters are tangible, the lack of a narrative keeps the book from feeling satisfying.
A caustic portrait of the blank generation facing middle age.Pub Date: Nov. 5, 2019
ISBN: 978-0-374-28324-7
Page Count: 352
Publisher: Farrar, Straus and Giroux
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
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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