Synopsis
“Luminous and affecting . . . [Exposure] examines the often fine line between art and abuse. . . . Taut in plot, beautifully realistic, and intelligently disturbing.”
–Harper’s Bazaar
Ann Rogers appears to be a happily married, successful young woman. A talented photographer, she creates happy memories for others, videotaping weddings, splicing together scenes of smiling faces, editing out awkward moments. But she cannot edit her own memories so easily–images of a childhood spent as her father’s model and muse, the subject of his celebrated series of controversial photographs. To cope, Ann slips into a secret life of shame and vice. But when the Museum of Modern Art announces a retrospective of her father’s shocking portraits, Ann finds herself teetering on the edge of self-destruction, desperately trying to escape the psychological maelstrom that threatens to consume her.
“Astounding . . . told in prose as multifaceted as a diamond, crystalline and mesmerizing. ‘Remarkable’ hardly goes far enough.”
–Cosmopolitan
“Impossible to put down . . . Kathryn Harrison is an extremely gifted writer, poetic, passionate, and elegant.”
–San Francisco Chronicle
“Exquisite, exhilarating, and harrowing.”
–Donna Tartt, author of The Secret History and The Little Friend
“A breathless urban nightmare not easy to forget. Stark, brilliant, and original work.”
–Kirkus Reviews (starred review)
From the Trade Paperback edition.
Reviews
Harrison's second novel (after Thicker Than Water ) is a mesmerizing depiction of a woman on the edge of emotional disintegration. Ann Rogers is a beautiful, chic, financially comfortable New Yorker with a career as a videographer of weddings and society functions, and a loving husband who restores landmark buildings. But Ann is addicted to speed, a drug which holds especially dangerous consequences for her, since she is a diabetic. Moreover, every time she does crystal meth, she compulsively shoplifts at Bergdorf's and Saks. Flashing back to Ann's Texas upbringing, Harrison gradually discloses the source of her deep neuroses. Her cold, monstrously selfish father extracted a bizarre kind of vengeance for her mother's death in childbirth. Edgar Rogers became famous for his photographs of a prepubescent and adolescent Ann, naked and assuming deathly poses. He committed suicide in 1979; now a retrospective of his work, including photos of Ann engaged in acts the memory of which she has tried to repress, is imminent at the MoMA. Demonstrating impressive control of the novel's structure and pacing, Harrison steadily deepens her sophisticated psychological portrait of Ann while elevating suspense and the reader's emotional involvement. The shocking circumstances of Ann's life become clear: she survived traumatic events by pathologically retreating into herself, but her subconscious erupts now and then in suicidal behavior. This unsparing picture of a woman spinning out of control is conveyed in luminous and tensile prose. The novel's larger theme, an indictment of a society "which encourages exploitation even as it punishes all who chronicle it," is eerily prescient, calling to mind the current controversy over photographer Sally Mann's nude pictures of her children. Harrowing but spellbinding, the novel has the impact of an unforgettably vivid image seared on the eye. BOMC featured alternate.
Copyright 1992 Reed Business Information, Inc.
Ann Rogers seems successful--she's happily married and a partner in a thriving videography business--but she's also a diabetic hooked on speed and a compulsive shoplifter at some of New York's best stores. While she skillfully videotapes and edits other people's celebrations and turns them into happy memories, she is unable to face her own past. Her life spins farther out of control at the approach of a retrospective show at the Museum of Modern Art of the work of her father, a noted photographer whose model was prepubescent Ann, posed as if dead or caught in sexually explicit situations. Harrison ( Thicker Than Water, LJ 3/15/91) is a remarkable storyteller with a clear, strong voice; she hooks the reader right from the start (as Ann tugs on a stolen skirt in a taxi) and shows, finally, that we are all products of our history. Compelling. BOMC featured alternate; previewed in Prepub Alert, LJ 10/1/91.
- Michele Leber, Fairfax Cty. P.L., Va.
Copyright 1992 Reed Business Information, Inc.
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