From Publishers Weekly
Divided into six sections to imitate the six sections Mozart wrote for his unfinished Requiem, White's latest novel deals in pattern and frequency rather than character and plot. Each section is made up of brief pieces: seemingly random notes, interviews, stories and dramatic sketches. The notes range from thumbnail biographies of Mozart, Haydn, Saint-Saens and other musicians to pseudo-philosophical reflections; the interviews are usually between a character named the Modern Prophet, who, like White, is an unsung novelist (a point made in a fake Fresh Air interview with Terry Gross), and a murderer, a madman and some Beckett-like bit players. There is also a sequence of e-mails between Honeycomb at teenslut.com and an English professor named Tom. The theme of pornography is woven through the entire book, intensifying in a series of cameos of bestiality involving a Web site, a woman named Michelle, her dog Murphy and her boyfriend, Chad. White is deliberately trying to shock the reader with his misogyny, his hatred of children and his Manichean view of copulation. In this, he is following in the anti-heroic tradition initiated by Dostoyevski's Notes from the Underground, in which the reader is apparently invited to despise the hero, only to find that, gradually, the reader's own smugness is under attack. For Dostoyevski, the point was that there is no virtue without faith. In White's novel, however, the point seems more petulant: excoriation of these supposedly lowbrow times.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
Imagine a cross between David Markson and Milan Kundera, and you have White, author of the acclaimed Memories of My Father Watching TV. His latest is a loopy postmodern "novel" of epic reach and encyclopedic method. Assembled from e-mails, letters to the editor, interview transcripts, and other ephemera, Requiem tackles the themes of art, death, and the spirit, suggesting that a transhuman web of consciousness holds together the apparent randomness of the universe. There are flashes of wit here, as well as moments of deep pathos, but the pace is bogged down by numerous passages that revolve around a shadowy figure named Chris, the so-called Modern Prophet. Chris's encounters with various madmen and murderers are supposed to serve as a narrative key but instead distract from the livelier material. In addition, there are certain political messages that in the current climate most readers will find bizarre if not offensive. That, along with the high incidence of bestiality and other forms of morbid sexuality, will limit the audience for this work. Suitable only for the largest collections or academic libraries. Philip Santo, Metropolitan Museum of Art, New York
Copyright 2001 Reed Business Information, Inc.