From Publishers Weekly
Startling images of Hollywood decadence and personal turmoil pervade this prodigious, literate tale of Oedipal conflict amid the pretense and excesses of the contemporary American film industry. In the tradition of Nathanael West's The Day of the Locust , the novel evokes a landscape of unabashed perversion and atavism, thinly cloaked by the glamour of the silver screen. Narrator and protagonist Will Blake is a third-generation insider, a spiritual drifter who sleepwalked into movie stardom with a natural talent that has earned him three Oscar nominations. Reeling from the breakup of his marriage to world-renowned actress Zebra Dunn, nursing the permanent wound of his brother's suicide, locked in dangerous conflict with his father, Clement (a violent, monomaniacal producer), Will becomes increasingly unstable as he traces the nearly invisible line separating reality from illusion in his bizarre hometown. Smith ( The Lives of the Dead ) writes relentlessly, in waves of rich, elaborate metaphor full of fresh insights and probing speculations about a milieu so often treated superficially. Rather than invoking real-life stars, he creates his own fully imagined movieland characters, who help make the novel's vision convincing and complete. His agile, dynamic prose captures both the deep reveries and the grotesque crucibles of Will's story. Author tour.
Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
Like his troubled main character, author Smith ( Crystal River , LJ 7/93) isn't adept at "riding the chaos" in his new novel, despite three glowingly reviewed books. Set in modern Hollywood, this novel suffers from a hackneyed, Freudian-delight plot--a famous-in-spite-of-himself actor son faces off against tough faded mogul father who has fallen in love/lust with his son's beautiful movie-star wife. The action derails the narrative into long pages of blocky description; instead of the symbolic, corelike "Chimney Rock," the book should have been called "Mesa." Much of the language here is brilliant and the imagery imaginative, but much of it isn't, and for the first time Smith comes across as downright wordy. The main characters are entirely too familiar, with a surprisingly tiresome "free spirit" heroine unfortunately the focus of all the fuss. A marginal purchase.
- David Bartholomew, NYPLCopyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.