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A mysterious disaster has stricken the midwestern American city of Bellona, and its aftereffects are disturbing: a city block burns down and is intact a week later; clouds cover the sky for weeks, then part to reveal two moons; a week passes for one person when only a day passes for another. The catastrophe is confined to Bellona, and most of the inhabitants have fled. But others are drawn to the devastated city, among them the Kid, a white/American Indian man who can't remember his own name. The Kid is emblematic of those who live in the new Bellona, who are the young, the poor, the mad, the violent, the outcast--the marginalized.
Dhalgren is many things, but instantly accessible isn't one of them. While most of this big, ambitious, deeply detailed novel is beautifully pellucid, the opening pages will be difficult for some: the novel starts with the second half of an incomplete sentence, in the viewpoint of a man who doesn't know who he is. If you find the early pages rough going, push on; the story soon becomes clear and fascinating. But--fair warning--the central nature of the disaster, of its strange devastations and disruptions, remains a puzzle for many readers, sometimes after several readings.
Spoiler warning: If you want to figure out the secret of the novel as you read Dhalgren, then stop reading this review right now! If you want to know the secret before you start, this is what the novel is about: the experience of existence inside a novel. Time passes differently for different characters. A river changes location. Stairs change their number. The Kid looks in a mirror and sees not himself, but someone who looks an awful lot like Samuel R. Delany. Central images include mirrors, lenses, and prisms, devices that focus, reflect--and distort. The Kid fills a notebook with a journal that may be Dhalgren, and is uncertain if he has written much, or any, of it. The characters don't know they're in a novel, but they know something is wrong. Dhalgren explores the relationship between characters and author (or, perhaps, characters, "author," and author).
The final chapter can be even tougher going than the opening pages, with its viewpoint change and its stretches of braided narrative--and the novel ends with the beginning of an unfinished sentence. But the last chapter becomes clear as you persevere; and when you get to that unfinished closing line, turn to the first line of the novel to finish the sentence and close the narrative circle. --Cynthia Ward
I love this book. It's a postmodern masterpiece. If you are squeamish about sexual content, I'd avoid it though.Published 7 days ago by devin
I'm glad I missed this when it originally came out. Needed to learn a lot more about life to truly appreciate all its complex elements. Read morePublished 29 days ago by Tony Smith
I've read Dhalgren maybe a dozen times, and I still enjoy reading it today - I just bought the Kindle copy because my paperback wore out. It's a very strange book. Read morePublished 1 month ago by mike pellegrini
This is an amazing and frustrating book that should never be read by anyone who is offended by anything. If you like coherent story lines this book isn't for you. Read morePublished 1 month ago by jackboot dash
A "modern" novel that is not very interested in plot devices or clean endings or other conventional touches. Read morePublished 1 month ago by Witz
I slogged through this book, so I could say that I read it, but it was a chore. Huge, long dystopian novel with hints of more complex plots and themes that were never developed. Read morePublished 1 month ago by Saralinda