This chilling tale of religious persecution is served up with a feminist bite.
On an icy, dark island, men hunt witches and women fight back.
British poet and playwright Hargrave plucks a piece of 400-year-old legal history—a European king’s prosecution of 91 people for witchcraft—and gives it a feminist spin. The story opens in 1617 in the Arctic Circle, with a historic, strangely sudden storm off the island of Vardø. Maren, 20, has run to the harbor as her father, brother, and fiance founder in boats at sea. “All about her, other mothers, sisters, daughters are throwing themselves at the weather: dark, rain-slick shapes, clumsy as seals.” Forty men drown in the Christmas Eve storm, leaving their Norwegian womenfolk in a treeless village, sunk in winter darkness. The women winch the men’s corpses off the rocks, up the cliffs, and store them in a boathouse; the ground is far too frozen to breach. They butcher reindeer and, after much dissention, split over the radical step of going to sea to fish for themselves. News reaches the authorities, who send first a preacher, then someone more sinister, Scotsman Absalom Cornet, who has already executed a woman for witchery. He brings a bewildered new wife, Ursa, a young city woman, ignorant of her husband’s history. She forms a fast, unlikely bond with Maren. To Absalom, the lethal storm seems suspiciously supernatural and the customs of the local Laplanders—Sámi people—an abomination. The tension ratchets across the novel’s three sections: “Storm,” “Arrival,” and “Hunt.” The women—divided, watchful, unlettered, and bereaved—are prey, but they are not helpless. In clean, gripping sentences the author is wonderfully tuned to the ways and gestures of a seemingly taciturn people. “Even writing at a distance of four hundred years, I found much to recognize,” she states in her historical note. “This story is about people, and how they lived; before why and how they died became what defined them.”
This chilling tale of religious persecution is served up with a feminist bite.Pub Date: Feb. 11, 2020
ISBN: 978-0-316-52925-9
Page Count: 336
Publisher: Little, Brown
Review Posted Online: Sept. 1, 2019
Kirkus Reviews Issue: Sept. 15, 2019
SEEN & HEARD
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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