THE VOYAGE OF THE DESTINY

Name: THE VOYAGE OF THE DESTINY
Author: Robert Nye
ISBN: 1-55970-646-5

by Robert Nye ‧ RELEASE DATE: Feb. 1, 2003

Less immediately engaging than some of Nye’s other fiction based on history or literature (e.g., The Late Mr. Shakespeare,...

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Nye’s richly detailed 1982 historical, previously unpublished in the US, charts the industrious and embattled later years of Elizabethan Renaissance man Sir Walter Raleigh (1554–1618).

Raleigh himself narrates, during and following his expedition to Guiana in search of gold to swell the coffers of England’s King James I. James had previously imprisoned Raleigh for “treasonable” complicity with Spanish interests, and has more recently pardoned the eminent statesman-soldier-poet, giving him this final commission. In a yeasty period style (sprinkled with excerpts from Raleigh’s spare, eloquent poems), the former courtier recalls his earlier military and diplomatic assignments, the “affair” with the mercurial Virgin Queen Elizabeth, and the recent, needless death of his impulsive son Wat during a misconceived attack on a Spanish fortress. This is the novel’s chief weakness: virtually all its actions are remembered or related by the mordant protagonist, in effect imprisoned anew aboard “a rotting ship on a stinking sea and no gold and my brains broken and my life in ruins.” There’s some variety in the imposingly dignified figure of Christoval Guayacunda, a Guianan Indian who has abandoned his Spanish confederates (and who, in several lengthy conversations with Sir Walter, refers erroneously—and ironically—to the former British monarch as “Elizadeath”). And the tale improves enormously in its concluding hundred or so pages, as Raleigh prepares himself to accept the king’s newest reversed judgment (he now declares Raleigh a traitor for opposing the Spanish), abandons all hope of escape (after having rather ingeniously “counterfeited” leprosy), and moves from the Tower of London to his execution, seemingly “as free from all apprehension of death, . . . as if he had come there to be a spectator rather than a sufferer.”

Less immediately engaging than some of Nye’s other fiction based on history or literature (e.g., The Late Mr. Shakespeare, 2000), but accomplished and engrossing nevertheless.

Pub Date: Feb. 1, 2003

ISBN: 1-55970-646-5

Page Count: 400

Publisher: Arcade

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Dec. 15, 2002

Categories:

LITERARY FICTION

- BOOK REVIEW
MRS. SHAKESPEARE
by Robert Nye

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THE LATE MR. SHAKESPEARE
by Robert Nye

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THE MOST FUN WE EVER HAD

by Claire Lombardo ‧ RELEASE DATE: June 25, 2019

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...

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Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.

Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.

Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.

Pub Date: June 25, 2019

ISBN: 978-0-385-54425-2

Page Count: 544

Publisher: Doubleday

Review Posted Online: March 3, 2019

Kirkus Reviews Issue: March 15, 2019

Categories:

LITERARY FICTION | FAMILY LIFE & FRIENDSHIP

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HOUSE OF LEAVES

by Mark Z. Danielewski ‧ RELEASE DATE: March 6, 2000

The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...

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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.