Brian Evenson

The Open Curtain: A Novel

Brian Evenson

• 2007 Edgar-Paperback nominee
• 2006 IHG–Novel nominee
• Score: 12.57

When Rudd, a troubled teenager, embarks on a school project, he runs across a series of articles from the 1902 New York Times chronicling a vicious murder committed by the grandson of Brigham Young. Delving deeply into the Mormon ritual of blood sacrifice used in the murders, Rudd, along with his newly discovered half-brother, Lael, becomes swept up in the psychological and atavistic effects of this violent, antique ritual.

As the past and the present become an increasingly tangled knot, Rudd is found at the scene of a multiple murder at a remote campsite with minor injuries and few memories. Lyndi, the daughter of the victims, tries to help Rudd recover his memory and, together, they find a strength unique to survivors of terrible tragedies. But Rudd, desperate to protect Lyndi and unable to let the past be still, tries to manipulate their Mormon wedding ceremony to trick the priests (and God) by giving himself and Lyndi new secret names-names that match the killer and the victim in the one hundred-year-old murder. The nightmare has just begun…

The Wavering Knife: Stories

Brian Evenson

• 2004 IHG–Collection winner
• Score: 10.54

Brian Evenson’s fifth story collection constructs a human landscape as unearthly as it is mundane. Replete with the brutality, primordial waste, and savage blankness familiar to readers of his earlier works, Evenson’s Kafkaesque allegories entice the mind while stubbornly disordering it. In the title story an obsessive consciousness folds back on itself, creating a vertiginous mélange of Poe and Borges, both horrific and metaphysical. Here, as in “Moran’s Mexico,” and “Greenhouse,” the solitary nature of reading and writing leads characters beyond human limits, making the act of putting words to paper a monstrous violation opening onto madness. In “White Square” the representation of humans by dimly colored shapes confirms our feeling that something lies behind these words, while seeming to mock us with the futility of seeking it. Evenson’s enigmatic names—Thurm, Bein, Hatcher, Burlun—placeable landscapes, and barren rooms all combine to create a semblance of conceptual abstraction, as though the material universe had come to exist inside someone’s head.