From Publishers Weekly:

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.

From Library Journal

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 Reed Business Information, Inc.

Книги на полке «Dark Academia», Eric James