From Publishers Weekly
Only close readers of the previous two volumes in Sorrentino's trilogy ( Odd Number ; Rose Theatrestet Brit spelling ) can hope to discern anything resembling a plot in this final work. A truncated series of frustrating anecdotes outline a ragtag crew of individuals who are somewhere on the fringes of the arts and/or life. Details about these eccentrics are revealed in brief "items" interspersed throughout ("Plain Lucia Lewison, at one time Henry's wife, was not locked out of the Kodak Motor Inn, 'allegedly nude,' by John Greene Czcu; she was ejected from the Lido"). Sorrentino fires off numerous references to other literary works and characters as well as peppery attacks on the literary establishment; he ventriloquizes the language of supermarket tabloids, apes European accents and produces a gaggle of stewardesses all named Karen, but his evident wit might have been better diverted to character development.
Copyright 1989 Reed Business Information, Inc.
From Library Journal
Odd Number ( LJ 10/1/85) and Rose Theatre ( LJ 11/15/87) were the first books in this Beckettian trilogy, which pays tribute to Sorrentino's mentor through halting investigation. Both were notable for their invitation to sample a different sort of fare. Now, the trilogy ends with a work so dense in structure and character as to challenge the most determined reader. Plot is reserved for the comic novel within the novel, "Buddy and His Boys on Mystery Mountain," a Hardy Boys takeoff that proves Sorrentino can assemble a traditional story, but only in jest. The end result is a novel of characters without plot, and while most of these people have appeared before in the trilogy, their presence here clarifies nothing. Where, then, is this novel's audience? Professional writers and critics will enjoy its achievement, but the wider reading public will not invest the time.
- Paul E. Hutchison, Bellefonte, Pa.Copyright 1989 Reed Business Information, Inc.