From Publishers Weekly
Davis's unconventional style of writing this novel is not well-suited to the audio format. Chapters are told from many different characters' perspectives, and the narrative jumps around from past to present. Since Frasier does not vary her delivery or do much to differentiate the voices of the characters, it's easy to lose the thread of what's going on. The novel frequently tosses in "list-style" items, such as police logs and daily horoscopes, which are slow, distracting and repetitive when read aloud. Frasier's cool, objective voice matches the author's narrative tone, but it makes such potentially exciting scenes as a gunman taking hostages in a church flat and dull. The strength of the audio medium is in its intimacy and emotion, the ability of a talented reader to bring characters and stories to life. A novel such as this, told in the detached tone of an impartial observer, does not play to the medium's strengths. It works better on the page.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
--This text refers to the
In the opening pages of this brilliant, peculiar book, three small-town girls discover a man's corpse at the edge of a lake, and one of them, Mees Kipp, mysteriously brings him back to life. Davis writes hallucinatory, literate prose, and adopts a cosmic perspective: she is concerned with nothing less than describing the town's every waking moment. The experiences of Mees's dog, trotting through a clearing that smells of porcupine, stand alongside those of a minister's wife reading her morning paper and "confronting whatever form the devil had chosen to assume overnight." In any other book, a magical resurrection would be a central event; for Davis, it's just another moment in a particular place.
Copyright © 2006 The New Yorker
--This text refers to an out of print or unavailable edition of this title.