Mark Danielewski, author of cult classic House of Leaves, has done it again – or rather, he's been at it for 25 years. The behemoth of Tom's Crossing weighs in at a staggering 1,200 pages, containing approximately half a million words. This new western novel tells the story of Kalin March, a 16-year-old outsider with an uncanny talent for horse riding, as he embarks on a perilous journey to save two horses from certain doom.
On the surface, Tom's Crossing appears to be a sweeping epic with all the makings of a classic western. The setting is 1980s Utah, and the narrative is driven by Kalin's quest to deliver two beloved horses, Mouse and Navidad, to safety in the wilderness beyond the Isatch mountain range. Along the way, he's joined by an unlikely trio: Tom Gatestone's ghost, Landry, and even Tom himself, who has been murdered by a ruthless local patriarch named Orwin Porch.
However, as we delve deeper into this novel, it becomes increasingly apparent that Danielewski is more concerned with showcasing his literary prowess than engaging readers on an emotional level. The story unfolds over a five-day period leading up to Halloween in 1982, but the pace is uneven, and the narrative veers wildly from action-packed set pieces to excruciatingly detailed descriptions of minor characters' personal lives.
One of the most striking aspects of Tom's Crossing is its use of multiple narrative voices. The novel claims to be an oral account of events, but in reality, it's a dizzying array of perspectives, each one more outlandish than the last. Danielewski seems determined to prove that he can tackle every literary device known to man, from Homeric epic poetry to 17th-century prose à la John Milton.
The result is often infuriating – and sometimes sublime. As our protagonist Kalin navigates treacherous terrain, avoids deadly traps, and confronts his enemies in a series of increasingly intense showdowns, Danielewski's narration careens wildly from the bizarre to the breathtaking. But when it comes time to tell us about minor characters' thoughts on the finer points of 1980s music or the geology of the region, the narrative stumbles.
Ultimately, Tom's Crossing feels like a novel designed for academic seminarians rather than everyday readers. Danielewski's ambition is undeniable – who else could make 1,200 pages feel like 300? But beneath its deliberately arcane surface lies a gripping story with mythic undertones and simple, compelling moral choices. It's as if the author has taken all his favorite literary tricks and set them loose in a western landscape.
In short, Tom's Crossing is a novel that defies summary – but here goes: it's long (seriously, it's longer than most novels), challenging (because of its narrative voice and sheer scope), and ultimately gratifying (because beneath the carapace lies a classic western at heart). If you're up for the challenge, Tom's Crossing is sure to deliver. But if not? Maybe stick with your Instagram feed – at least that won't put you to sleep.
On the surface, Tom's Crossing appears to be a sweeping epic with all the makings of a classic western. The setting is 1980s Utah, and the narrative is driven by Kalin's quest to deliver two beloved horses, Mouse and Navidad, to safety in the wilderness beyond the Isatch mountain range. Along the way, he's joined by an unlikely trio: Tom Gatestone's ghost, Landry, and even Tom himself, who has been murdered by a ruthless local patriarch named Orwin Porch.
However, as we delve deeper into this novel, it becomes increasingly apparent that Danielewski is more concerned with showcasing his literary prowess than engaging readers on an emotional level. The story unfolds over a five-day period leading up to Halloween in 1982, but the pace is uneven, and the narrative veers wildly from action-packed set pieces to excruciatingly detailed descriptions of minor characters' personal lives.
One of the most striking aspects of Tom's Crossing is its use of multiple narrative voices. The novel claims to be an oral account of events, but in reality, it's a dizzying array of perspectives, each one more outlandish than the last. Danielewski seems determined to prove that he can tackle every literary device known to man, from Homeric epic poetry to 17th-century prose à la John Milton.
The result is often infuriating – and sometimes sublime. As our protagonist Kalin navigates treacherous terrain, avoids deadly traps, and confronts his enemies in a series of increasingly intense showdowns, Danielewski's narration careens wildly from the bizarre to the breathtaking. But when it comes time to tell us about minor characters' thoughts on the finer points of 1980s music or the geology of the region, the narrative stumbles.
Ultimately, Tom's Crossing feels like a novel designed for academic seminarians rather than everyday readers. Danielewski's ambition is undeniable – who else could make 1,200 pages feel like 300? But beneath its deliberately arcane surface lies a gripping story with mythic undertones and simple, compelling moral choices. It's as if the author has taken all his favorite literary tricks and set them loose in a western landscape.
In short, Tom's Crossing is a novel that defies summary – but here goes: it's long (seriously, it's longer than most novels), challenging (because of its narrative voice and sheer scope), and ultimately gratifying (because beneath the carapace lies a classic western at heart). If you're up for the challenge, Tom's Crossing is sure to deliver. But if not? Maybe stick with your Instagram feed – at least that won't put you to sleep.
i know some ppl are gonna love it cuz danielewski's a genius and all but personally i cant even get past how confusing it gets like every chapter is like a completely different story and i just wanna scream "calin whats going on with ur head?" 
. I mean, I love the guy's work, but come on! House of Leaves was already a wild ride, and this new western novel just feels like he's trying to prove how clever he can be. The narrative voice is all over the place – sometimes it's great, other times it's like, what? 
.
But on the other hand, I'm left wondering if it's all just a bit too much. I mean, come on, 500k words? That's like writing an entire library of books!
️
. I mean, 1,200 pages is a looong time to invest in a story 
. And sometimes, it feels like he's prioritizing showing off his literary chops over actually connecting with the reader on an emotional level 
.
. Maybe it's the mythic undertones or the simple moral choices at its heart 
. Whatever it is, Danielewski's got a way of making you care about Kalin and his horses, even when things get weird 
.
the setting in 80s utah is so atmospheric and the characters are so well-written (except maybe for some of the minor ones lol) anyway i gotta admit it took me a while to get into the book but once i did i was hooked 
but honestly, it feels like he's trying way too hard to prove himself as a literary genius. like, yeah, we get it, you can do multiple narrative voices, congratulations 
. but sometimes i feel like the story gets lost in all the fancy words and descriptions. kalin's journey is cool and all, but when does he actually talk about his feelings or anything? 
.
. And don't even get me started on the narrative voices... it's like he's tryin to cram every literary device known to man into one book 
. Sometimes it's infuriatin', other times it's just sublime... but overall, I gotta say, it's a bit of a slog 
