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Tideland
 
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Tideland (Paperback)

de Mitch Cullin (Author)
4.3étoiles sur 5  Voir tous les commentaires (3 évaluations de client)
Prix éditeur: CDN$ 13.47
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Descriptions du produit

From Publishers Weekly

Traces of Faulkner's A Rose for Emily and faint echoes of the horror film classic Psycho infuse this highly charged, eccentrically imaginative narrative by the author of Branches. The unusual tale comprises mainly dialogues between 11-year-old Jeliza-Rose and her four bodiless Barbie doll heads as she wanders about the isolated landscape of a house beside the railroad tracks in bleak rural Texas, interrupted periodically by the dynamite exploding in a nearby limestone quarry. Jeliza-Rose's mother is dead from a heroin overdose. The girl's father, 67-year-old Noah, a drug-addicted, has-been rock guitarist, leaves his wife's corpse on the bed in their sleazy L.A. apartment and takes his abused, disturbed daughter on a Greyhound bus to his long-dead mother's home. There Noah pins a map of Denmark on the wall and sits and stares trancelike for days on end. Jeliza-Rose soon encounters Dell, an eccentric neighbor woman who wears a beekeeper's veil and has a brain-damaged brother named Dickens. Precocious (and often pretentious) conversations between Jeliza-Rose and her Barbie heads (one is named Classique) serve to illumine the girl's disturbed state of mind and to further the surreal plot. As Jeliza-Rose's fantasy world collides with Dell's appalling secret, a grotesque history is revealed. This brutal portrait of a young girl's unbearable childhood requires immersion in her fevered imagination, and is relieved only at the end by Jeliza-Rose's brave effort to save herself from total breakdown. (Aug.)
Copyright 2000 Reed Business Information, Inc. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.

From Kirkus Reviews

Cullin returns to the rural Texas landscape of his Whompyjawed (1999) and Branches (p. 5), in a narrative that veers unevenly between mordant humor and a self-conscious quirkiness that too often undercuts his real gift for language and invention.The precocious and preternaturally observant adolescent narrator, Jeliza-Rose, is a classic American literary type reminiscent of Harper Lee's Scout and Carson McCullers's Frankie. After her mother dies of a drug overdose, Jeliza-Rose and her father move from Los Angeles to Texas, returning to What Rocks, the farm that belonged to her late grandmother. Her father, Noah-also a former junkie-is a gifted guitarist and songwriter who dreams of moving to Denmark. Why Denmark? Like much else here, the reason seems rooted less in a coherent narrative structure than in authorial whimsy. Nothing particularly pressing keeps father and daughter living at What Rocks, other than a lack of money and of will to go anywhere else. Jeliza-Rose is left to fend for herself, and, like children everywhere, she has a prodigious imagination that keeps her continually diverted while her neglectful father lapses into a terminal dreaminess. She befriends a lonely scarecrow of a man called Dickens, an eccentric woman, Dell, who likes to wander around wearing a beekeeper's protective mask, and a stuttering boy named Patrick. Jeliza-Rose also calls on a large collection of Barbie dolls for amusement. Cullin has a wonderful feel for the big and wide Texas landscape that Jeliza-Rose finds herself in. His descriptions of how a child can happily lose herself in the long grass, wildflowers, and mesquite are lyrical without being precious.There's not much of a story for Cullin to hang his sharply drawn, often poignant evocation of childhood on. Still, his feel for the painful awkwardness and sensitivity of adolescence is worth the trip. -- Copyright © 2000 Kirkus Associates, LP. All rights reserved. --Ce texte provient d'une édition qui n'est plus publiée ou qui est non diponible.
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3 évaluations
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4.3étoiles sur 5 (3 évaluations de client)
 
 
 
 
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1 internautes sur 1 ont trouvé ce commentaire utile :
5.0étoiles sur 5 Hypnotic and Shocking, Jui 1 2001
Par KC (Houston, TX) - Voir tous mes commentaires
This review is from: Tideland (Hardcover)
Tideland seized my imagination from the first page, and I think most readers will follow Cullin's extraordinary conceptions with astonishment and delight. Told in the past tense, thus suggesting a good deal of time has passed before its telling, Jeliza-Rose's adventures among the mesquites are haunting, strange, and often beautiful. Her encounters with the odd pair of Dell and Dickens come at a welcome time, yet leads us down an even darker path of family secrets and hidden boxes of dynamite.

Considering Tideland came just months after Cullin's Branches and only a few months before his equally wonderful but different The Cosmology of Bing, one can only imagine what this very talented and singular storyteller has up his sleeve next. Until then, I highly recommend the curious world of Tideland, which is a work of so unusual a nature as to throw new light on Cullin's already brilliant career.

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1 internautes sur 1 ont trouvé ce commentaire utile :
4.0étoiles sur 5 Cullin's best, Mai 25 2001
Par Martin T. Scott (Houston, TX USA) - Voir tous mes commentaires
This review is from: Tideland (Hardcover)
Both poetic and thrilling, the best thing about this novel in the texture: the language and visual imagery are both stunning. This is a wonderful take on a twisted childhood, and so it's no surpirise Terry Gilliam will direct the movie version: the surreal and dreamy misprision is right up his alley. One might quibble that the voice of the narrator in the novel would be beyond that of a child, but the payoff of the reading experience is probably worth the suspension of disbelief.
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1 internautes sur 1 ont trouvé ce commentaire utile :
4.0étoiles sur 5 Taxidermy meets Behind the Attic Wall meets Teddy., Mars 24 2001
This review is from: Tideland (Hardcover)
"Tideland," Mitch Cullin's third novel, is at once similar and different than his first two novels, "Whompyjawed" & "Branches." First, the background takes place in the vast wilds of West Texas - loosely connected to the two prior novels. (In Whompjawed, Sherriff Branches - the narrative voice in Branches - has a cameo appearance. And, completing the circle, in Tideland there is a mention of Willy Keeler, star football player in Whompyjawed. - So, we can assume Tideland takes place in the same region as the first two...) Cullin, using the eyes of Tideland's narrator Jeliza Rose, again shows his gift for capturing surrounding. The look through a small girl's imaginative world born amongst the surrounding Johnsongrass, the mesquite, fireflies, etc. It takes on a magical quality, without being overly sentimental. It reminded me of a juvenile book I read years ago, "Behind the Attic Wall" by Sylvia Cassedy. Except I felt that a large portion of the middle section of Tideland could have been eliminated with. Some might appreciate the "real time" aspect of it, but I have to say it became an annoyance the way it began to loop, day to day. When Jeliza Rose finally meets the odd duo of Dell and Dickens, it is a sigh of relief.

In Tideland, Cullin seems to extemporize many of the odd details amongst its pages. Like Jeliza's father's obsession with Denmark, bog men, his rockabilly past, onto the imaginative worlds of Jeliza and Dickens', etc. Most of these details seem to have no purpose other than being creative. But I, personally, appreciated it, and also encourage Cullin to cut loose more in the future. Which leads to a criticism of Tideland. Throughout much of the novel Jeliza's voice bounces around from extremely naïve to Salinger's Teddy gifted, making connections and observations most adults may pass over. In Whompyjawed, Cullin's sense of tact, control, and believability in the narrator's voice is impeccable. As is Branches, for that matter. But in Tideland, I got the definite sense that Cullin wanted to breakout and away from the boundaries of Jeliza's voice. And though Jeliza often mimicked things heard or learned from her father/mother, there's a different feeling that Cullin interjected himself, his creative observations in place of the limited capacities of Jeliza's.

And though saying what I have, Tideland is darkly funny, creative, and an interesting read. Its plots (once into gear) twist into unexpected places of the heart and imagination at the drop of a hat. And even though I do not recommend Tideland as highly as his first two efforts, Cullin is a great talent to be reckoned with. Watch out.

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