In an era where cultural panic over declining reading habits has reached fever pitch, Mark Z. Danielewski boldly delivers a behemoth of a novel that defies conventions and pushes the boundaries of literary expression. Tom's Crossing, his latest opus weighing in at over 1,200 pages of densely packed text, contains a staggering half-million words – roughly twice the length of his iconic debut, House of Leaves.
The story centers around Kalin March, a 16-year-old outsider with an affinity for horse riding who forms an unlikely bond with Tom Gatestone, a charismatic and popular figure in the small Utah town of Orvop. After Tom's untimely death from cancer, Kalin is driven by a promise to save their beloved horses, Mouse and Navidad, from certain doom at the local knacker's yard. This seemingly straightforward narrative serves as the foundation for an epic tale that spans five days in October 1982.
Danielewski masterfully weaves together elements of western fiction with mythic undertones, crafting a story that is both captivating and disorienting. The plot unfolds against the backdrop of sweeping landscapes, family feuds, and primal struggles for survival in hostile terrain. However, it's not all about guns, horses, and ghosts – there are also dark secrets, sinister characters, and an unflinching exploration of the human condition.
Yet, beneath its blockbuster surface, Tom's Crossing harbors a multitude of aesthetic choices that will frustrate or delight readers depending on their taste. The novel's conceit is to present events as already widely known, with interjected passages detailing the thoughts and inspirations behind these creations. This device, while thought-provoking in theory, often feels like an exercise in indulgence.
Another point of contention lies with the narrative voice, which veers wildly between Homeric grandeur and rural colloquialism. The text is peppered with obscure vocabulary, arcane references, and an overall tone that's equal parts poetic and prolix. While some moments are sublime and thrilling, others feel like an exercise in stylistic showmanship.
Perhaps the most baffling aspect of Tom's Crossing is its willingness to prioritize academic consideration over accessibility. Danielewski seems more concerned with stimulating seminars than engaging readers on a visceral level. The result can be disorienting, as if the novel is constantly veering between high-brow literary devices and low-brow pulp fiction.
And yet, hidden beneath this complex web of narrative choices lies a gratifyingly straightforward western tale with all the makings of a blockbuster hit – violence, limited nudity, simple moral choices, and an unflinching exploration of the human condition. It's this 'gooey centre' that Danielewski seems to be hiding in plain sight.
Ultimately, Tom's Crossing is a novel that will polarize readers. Its sheer ambition, literary density, and deliberate stylistic choices may alienate those who crave more accessible storytelling. However, for those willing to brave the labyrinthine narrative and immerse themselves in its complexities, Danielewski offers a richly rewarding experience – one that's equal parts a challenging work of art and an unapologetic western epic.
The story centers around Kalin March, a 16-year-old outsider with an affinity for horse riding who forms an unlikely bond with Tom Gatestone, a charismatic and popular figure in the small Utah town of Orvop. After Tom's untimely death from cancer, Kalin is driven by a promise to save their beloved horses, Mouse and Navidad, from certain doom at the local knacker's yard. This seemingly straightforward narrative serves as the foundation for an epic tale that spans five days in October 1982.
Danielewski masterfully weaves together elements of western fiction with mythic undertones, crafting a story that is both captivating and disorienting. The plot unfolds against the backdrop of sweeping landscapes, family feuds, and primal struggles for survival in hostile terrain. However, it's not all about guns, horses, and ghosts – there are also dark secrets, sinister characters, and an unflinching exploration of the human condition.
Yet, beneath its blockbuster surface, Tom's Crossing harbors a multitude of aesthetic choices that will frustrate or delight readers depending on their taste. The novel's conceit is to present events as already widely known, with interjected passages detailing the thoughts and inspirations behind these creations. This device, while thought-provoking in theory, often feels like an exercise in indulgence.
Another point of contention lies with the narrative voice, which veers wildly between Homeric grandeur and rural colloquialism. The text is peppered with obscure vocabulary, arcane references, and an overall tone that's equal parts poetic and prolix. While some moments are sublime and thrilling, others feel like an exercise in stylistic showmanship.
Perhaps the most baffling aspect of Tom's Crossing is its willingness to prioritize academic consideration over accessibility. Danielewski seems more concerned with stimulating seminars than engaging readers on a visceral level. The result can be disorienting, as if the novel is constantly veering between high-brow literary devices and low-brow pulp fiction.
And yet, hidden beneath this complex web of narrative choices lies a gratifyingly straightforward western tale with all the makings of a blockbuster hit – violence, limited nudity, simple moral choices, and an unflinching exploration of the human condition. It's this 'gooey centre' that Danielewski seems to be hiding in plain sight.
Ultimately, Tom's Crossing is a novel that will polarize readers. Its sheer ambition, literary density, and deliberate stylistic choices may alienate those who crave more accessible storytelling. However, for those willing to brave the labyrinthine narrative and immerse themselves in its complexities, Danielewski offers a richly rewarding experience – one that's equal parts a challenging work of art and an unapologetic western epic.
1200 pages? who writes that much? danielewski is either a genius or a troll, hard to tell 
i mean, its like he's trying to be all deep and stuff, but honestly it just feels like reading a textbook on the meaning of life 
and dont even get me started on how pretentious the writing is 
gotta admit tho, its kinda interesting how he weaves together all those different storylines 
but overall, im good with sticking to my romcoms or something 
but i gotta say, some of those aesthetic choices are just meh, like when danielewski puts in all these random notes and inspirations that feel like they're just there for academic reasons 
it's like, dude, i get it, you're trying to make a point about the nature of storytelling, but can't we just get to the good stuff already? 
And don't even get me started on the writing style - it sounds so... experimental! 
Like, sometimes it's epic and poetic, and other times it's all vague and confusing. 
It sounds like there's more to this story than meets the eye. And can we talk about the themes for a second? Like, exploring the human condition and all that jazz... 
I need to read it ASAP to figure out whether it's gonna be a total game-changer or a literary hot mess. 
. But, at the same time, I can see how some of those narrative choices might be polarizing – like, I get that he wants to explore deeper themes, but sometimes it feels like he's throwing too many concepts at the wall to see what sticks 
. I'm not sure if I could commit to that kind of dense storytelling. But, hey, if you're in the mood for something epic and thought-provoking, Tom's Crossing might be just the ticket 
️. Just don't expect me to finish it anytime soon – my patience is wearing thin 
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I mean I know some ppl might be like "what the heck is going on with this book" but that's part of its charm, right? 
. Of course, some ppl might find it too dense or confusing but for those who are willing to take the risk, it's totally worth it! 
. Tom's Crossing is like eating a whole jar of wasabi in one sitting – it's either going to blow your mind or make you want to scream "make it stop!" The author, Mark Z. Danielewski, seems to be trying way too hard to be deep and pretentious 
. I mean, who uses words like "conceit" and "prolix" in a novel? It's like he's trying to win a bet on who can use the biggest dictionary word.
. And I love how Danielewski weaves together elements of western fiction with mythic undertones – it's like he took all the best parts of a John Ford movie and mashed them up into something entirely new 
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. The whole "we know more than you" vibe is weird, feels like he's talking down to us or something 
. Maybe that's just me being lazy though 
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. but at the same time, i'm over here like "dude, what's going on? is this a novel or a thesis paper?" 
and don't even get me started on the narrative voice... it's like he's speaking straight to my soul one minute, and then just goes off into some weird poetic tangent the next 
.
BUT AT THE SAME TIME, I'M WORRIED IT'LL BE TOO HARD TO GET THROUGH WITH ALL THOSE ACADEMIC REFERENCES AND OBSCURE VOCABULARY 
I MEAN, WHO NEEDS THAT MANY WORDS?!?! 1200 PAGES ALREADY?!!! BUT IF THE STORY IS AS GRITTY AND REALISTIC AS IT SOUNDS, THEN I'M DOWN TO GIVE IT A TRY!!!
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, or whatever. Just not me, tbh 
i dont know what to say but i think i'm gonna love it or hate it so yeah lets just see 
With its sprawling narrative, memorable characters, and unflinching exploration of the human condition, it's time to get ready for a wild ride. Buckle up, folks – Tom's Crossing is coming! 
. I'm not sure if I love or hate this book 
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. It's like Danielewski is hiding this amazing story beneath all the extra layers of complexity, and if you're willing to peel back the onion, you'll find this sweet western goodness inside 
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. I mean, what if there's like, a hidden message or something hidden within the text?