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10 of 10 people found the following review helpful:
3.0 out of 5 stars
Mysteries of Winterthurn, September 23, 2001
Oates has taken some vintage American crimes and fictionalized them to shed light on the true "mysteries of Winterthurn" : The attitudes towards class and gender which make the true culprits and events highly explicable to the reader, but not to the inhabitants of Winterthurn. The aristocratic inhabitants of Winterthurn (the poorer ones don't matter) are willfully blind to facts which conflict with their images of each other, which enables a vicious sex killer to operate with ease, or for a lady to get away with crimes which would have been detected quickly if commited by a poor woman. The poor can be hired, fired, scapegoated, raped, even murdered at will, and the parallels between their economic vulnerability and degradation, and their vulnerability to violence is deftly handled. Oates' description of Riviere du Loup, the working class community which Winterthurn uses as a refuge dump and as a place where any crime may be commited against the lower class inhabitants by the wealthy young men of Winterthurn, is chilling and plausible.And for the record : Ms Oates didn't merely go back and take old crimes and recast them event-for-event with her own fictional characters in the roles of murderer, victim, witness...Instead, she takes elements from many different crimes and recombines them. Recognizing the famous cases adds to the pleasure of the book. Here are some of the famous crimes which she used in the plotting of "Winterthurn": The Lizzie Borden case, The Hall-Mills murder case, aka the minister and the choir singer, The Thomas Piper "Bat Belfry Murders", The Leo Frank tragedy, and I believe I detect traces of Mary Rogers, Theodore Durrant, and Ruth Snyder-Judd Gray. The distancing effect of the archaic language helps to make it clear to the reader that the plight of the poor and downtrodden has changed little in the decades gone by. The language will add to some reader's pleasure ; others will find it off putting. It requires the reader to really think about the information s/he is being given, as the narrator is the 'incompetent omniscient' : A third person narrator who knows everything, including the most private thoughts of the characters, but who misses entirely the truth of the crimes and the motives of the actors. This makes the portrait of Erasmus Kilgarven, one of the most evil villians in modern American literature, all the more horrific.
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10 of 10 people found the following review helpful:
4.0 out of 5 stars
Enthralling and Challenging. A twisted and romantic journey, November 19, 1998
By A Customer
Fascinating book, when one considers that Oates is writing in the early 1980s in a retrospective style and language. She completely hits the Victorian mark. Don't expect "easy reading"-- this one takes time and committment, but it's worth it. Elements of horror, romance, and historical interest are blended in a fairly balanced manner. The first tale in this 'trilogy' of sorts gets bogged down a bit with all of the Kilgarvan family trivia, but it is essential to the rest of the tales. Work through it. Xavier Kilgarvan is truly one of the most unique and engaging (and pitiful) characters of all the detective/mystery genre. The most impressive aspect of this novel is that Oates leaves mysteries as mysteries. Meaning, she does not rend the veil of mystery in some hackneyed (though at times clever) manner, like so many writers in this genre (Doyle). The supernaturally strange events in Winterthurn remain shrouded (and as you will see, justifiably so) even after extensive examination and "ratiocination" (Oates' word). In the end, the Truth (if there be such a thing) is left for us to speculate. The importance (and the fun) lies in the journey, not in an unattainable destination!
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Oates' Favorite Novel, August 18, 2005
Yep, I read her saying just that.
The concluding book in the Gothic Trilogy, is really three novellas with the same main character, a young man whom we see rise from a schoolboy interested in criminology, to become the foremost detective of his time, the late 1800's.
The first story is set in the dreary, "Sleepy Hollow-like" hamlet of Winterthurn, in the bog country of upstate New York. In the man's family mansion, in a room locked from the inside, his cousin has been found near death and her infant son dead, covered with small bite marks. People begin to say the rather creepy Baroque "demon-cherubs" lining the walls as decoration came alive and attacked the couple. Did they? Can logic overcome superstition? Just what IS the answer?
Hint: it's gruesome stuff.
The next story is about the serial killing of several local factory girls. A Jewish accountant is blamed and the detective seeks to show it is really the flamboyant oldest son of a prominent local family who is doing it. It is a race against time since the locals want to lynch the Jewish man, held under light guard at the town jail.
The last story, set half a lifetime after the opening novella, features one of the beautiful female cousins in the first tale, who is found tied to a chair while her husband, an Episcopalian rector, is lying in front of her beaten to death on the rectory floor, with small paper hearts scattered all over his body.
Kinda grim, eh?
For lovers of authentic gothic fiction--not its pale modern descendant--the time spent reading Mysteries of Winterthurn will be time cherished. I recommend it without reservations. But fair warning, it is not for the faint of heart, or those whose attention spans cannot handle the demands of expertly measured prose.
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