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Starred Review. A pastiche of Joyce and Beckett, with heapings of Derrida's Glas and Thomas Pynchon's The Crying of Lot 49 thrown in for good measure, Danielewski's follow-up to House of Leaves is a similarly dizzying tour of the modernist and postmodernist heights—and a similarly impressive tour de force. It comprises two monologues, one by Sam and one by Hailey, both "Allmighty sixteen and freeeeee," each narrating the same road trip, or set of neo-globo-revolutionary events—or a revolution's end: "Everyone loves the Dream but I kill it." Figuring out what's happening is a big part of reading the book. The verse-riffs narrations, endlessly alliterative and punning (like Joyce) and playfully, bleakly existential (like Beckett), begin at opposite ends of the book, upside down from one another, with each page divided and shared. Each gets 180 words per page, but in type that gets smaller as they get closer to their ends (Glas was more haphazard), so they each gets exactly half a page only at the midway point of the book: page 180—or half of a revolution of 360 degrees. A time line of world events, from November 22, 1863 ("the abolition of slavery"), to January 19, 2063 (blank, like everything from January 18, 2006, on), runs down the side of every page. The page numbers, when riffled flip-book style, revolve. The book's design is a marvel, and as a feat of Pynchonesque puzzlebookdom, it's magnificent. The book's difficulty, though, carries a self-consciousness that Joyce & Co. decidedly lack, and the jury will be out on whether the tricks are of the for-art's-sake variety or more like a terrific video game. (Sept. 5)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
The second novel from cult author Danielewski (House of Leaves, 2000) consists of the dual free-verse narratives of 16-year-old Hailey and Sam, which are meant to be read in tandem; eight pages of Hailey's story are to be read first, then the volume needs to be flipped upside down and read in reverse for Sam's story, until the two narratives meet in the middle. With a Jack Kerouac-like reverence for the open road and a Dr. Seuss-like feel for wordplay, Danielewski tells an epic love story as the two teens travel across time, from the Civil War to the year 2063, in vehicles ranging from a Model T to a Mustang. Though outside forces threaten to undermine them, the two remain forever 16 and madly in love. Danielewski may free his young lovers from narrative constraints, but his readers are not so lucky--many will find the neck-craning and book-turning to be too interactive for their taste. Still, this creative paean to the velocity of young lovers and the vibrancy of American culture is sure to wow the experimental-fiction camp. Joanne Wilkinson
Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.