著者 Donna Tartt
One of The Atlantic’s Great American Novels of the Past 100 Years
Under the influence of a charismatic classics professor, a group of clever, eccentric misfits at a New England college discover a way of thought and life a world away from their banal contemporaries. But their search for the transcendent leads them down a dangerous path, beyond human constructs of morality.
“A remarkably powerful novel [and] a ferociously well-paced entertainment . . . Forceful, cerebral, and impeccably controlled.” —The New York Times
One of The Atlantic’s Great American Novels of the Past 100 Years
Under the influence of a charismatic classics professor, a group of clever, eccentric misfits at a New England college discover a way of thought and life a world away from their banal contemporaries. But their search for the transcendent leads them down a dangerous path, beyond human constructs of morality.
“A remarkably powerful novel [and] a ferociously well-paced entertainment . . . Forceful, cerebral, and impeccably controlled.” —The New York Times
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September 7, 1992
Tartt's much bruited first novel is a huge (592 pages) rambling story that is sometimes ponderous, sometimes highly entertaining. Part psychological thriller, part chronicle of debauched, wasted youth, it suffers from a basically improbable plot, a fault Tartt often redeems through the bravado of her execution. Narrator Richard Papen comes from a lower-class family and a loveless California home to the ``hermetic, overheated atmosphere'' of Vermont's Hampden College. Almost too easily, he is accepted into a clique of five socially sophisticated students who study Classics with an idiosyncratic, morally fraudulent professor. Despite their demanding curriculum (they quote Greek classics to each other at every opportunity) the friends spend most of their time drinking and taking pills. Finally they reveal to Richard that they accidentally killed a man during a bacchanalian frenzy; when one of their number seems ready to spill the secret, the group--now including Richard--must kill him, too. The best parts of the book occur after the second murder, when Tartt describes the effect of the death on a small community, the behavior of the victim's family and the conspirators' emotional disintegration. Here her gifts for social satire and character analysis are shown to good advantage and her writing is powerful and evocative. On the other hand, the plot's many inconsistencies, the self-indulgent, high-flown references to classic literature and the reliance on melodrama make one wish this had been a tauter, more focused novel. In the final analysis, however, readers may enjoy the pull of a mysterious, richly detailed story told by a talented writer. 75,000 first printing; BOMC and QPB selections. -
September 1, 1992
This well-written first novel attempts to be several things: a psychological suspense thriller, a satire of collegiate mores and popular culture, and a philosophical bildungsroman. Supposedly brilliant students at a posh Vermont school (Bennington in thin disguise) are involved in two murders, one supposedly accidental and one deliberate. The book's many allusions, both literary and classical (the students are all classics majors studying with a professor described as both a genius and a deity) fail to provide the deeper resonance of such works as Umberto Eco's The Name of the Rose . Ultimately, it works best as a psychological thriller. Expect prepublication hype to generate interest in this book and buy accordingly. Previewed in Prepub Alert, LJ 5/1/92.-- Charles Michaud, Turner Free Lib., Randolph, Mass.Copyright 1992 Library Journal, LLC Used with permission.
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September 1, 1992
This is a first novel of exceptional subtlety and suspense, featuring a haunting cast of characters. Somewhat reminiscent of "Dead Poet's Society," a bit gothic, and inlaid with sophisticated psychology, it takes place on and around the campus of a small, private, Vermont liberal arts college. When Richard, a native of a small, dull California town, arrives at Hampden College to study Greek, he's startled by the changeability of the weather, the brooding skies, and brilliant autumn. Thoroughly alienated from his parents, he lies about his past, hoping to impress the tight-knit, wealthy, secretive, and tantalizingly eccentric group of classics scholars studying under the direction of influential mentor, Julian Morrow. Henry is tall, erudite, and frighteningly calculating. Francis is gay, sly, but affectionate. Bunny, an awful mooch but quite endearing, looks like Teddy Roosevelt and spouts a great deal of nonsense punctuated by exclamations of "old man" and "see here." Camilla and Charles are twins--cool, attractive, and charming. As Julian steeps his disciples in Greek thought, they become obsessed with an overwhelming desire to experience telestic madness, that is, Dionysiac frenzy. Their pursuit of this exalted, catastrophic state leads to conspiracy, subterfuge, murder, and suicide. Tartt's prose is flawless and enthralling: keyed-up, humming with detail, graced with nuance, and electric with the malevolence of self-righteous amorality and an insulated and heartless form of intelligence. ((Reviewed Sept. 1, 1992))(Reprinted with permission of Booklist, copyright 1992, American Library Association.) -
John Grisham
"A beautifully written story, well-told, funny, sad, scary, and impossible to leave alone until I finished. . . . What a debut!"
- The New York Times "Powerful . . . Enthralling . . . A ferociously well-paced entertainment."
- The Village Voice "An accomplished psychological thriller . . . Absolutely chilling . . . Tartt has a stunning command of the lyrical."
- Time "A smart, craftsman-like, viscerally compelling novel."
- New York Newsday "A thinking-person's thriller . . . Think Lord of the Flies, then The Rules of Attraction. . . . The Secret History combines a bit of both--the unmistakable whiff of evil from William Golding's classic and the mad recklessness of priviledged youth from Bret Easton Ellis's novel of the '80s. . . . As stony and chilling as any Greek tragedian ever plumbed."
- The Boston Globe "Tartt's voice is unlike that of any of her contemporaries. Her beautiful language, intricate plotting, fascinating characters, and intellectual energy make her debut by far the most interesting work yet from her generation."
- The Philadelphia Inquirer "A long tale of friendship, arrogance, and murder knit together with the finesse that many writers will never have . . . Her writing bewitches us . . . The Secret History is a wonderfully beguiling book, a journey backward to the fierce and heady friendships of our school days, when all of us believed in our power to conjure up divinity and to be forgiven any sin."
- Cosmopolitan "The great pleasure of the novel is the wonderful complexity and the remarkable skill with which this first novelist spins the tale. And a gruesome tale it is. . . . A great, dense, disturbing story, wonderfully told."
- Jay McInerney "The Secret History implicates the reader in a conspiracy which begins in bucolic enchantment and ends exactly where it must--though a less gifted or fearless writer would never have been able to imagine such a rich skein of consequence. Donna Tartt has written a mesmerizing and powerful novel."
- The Washington Post Book World "Donna Tartt has invested this simple and suspenseful plot with a considerable amount of atmosphere and philosophical significance. . . . She's a very good writer indeed."
- The Virginian Pilot & Ledger-Star "A glorious achievement . . . The Secret History is a grand read--an artful blend of intelligence, entertainment, and suspense that quickens the pulse."
- Vogue "Beautifully written, suspenseful from start to finish."
- Houston Chronicle "One of the best American college novels to come along since John Knowles's A Seperate Peace. . . . Immensely entertaining."
- The Miami Herald "Donna Tartt is clearly a gifted writer. . . . The cadence of her sentences, the authority with which she shaped 500-plus pages of an erudite page-turner indicate she has the ability to leave her literary contemporaries standing in the road. . . . The decision to murder has about it the inevitability of classical Greek tragedy."
- Glamour "Donna Tartt has a real shot at becoming her generation's Edgar Allan Poe. . . . The Secret History pulses like a telltale heart on steroids."
