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The Keep
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The Keep

3.6 32
by Jennifer Egan, Jeff Gurner (Narrated by), Geneva Carr (Narrated by)

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Award-winning author Jennifer Egan brilliantly conjures a world from which escape is impossible and where the keep –the tower, the last stand –is both everything worth protecting and the very thing that must be surrendered in order to survive.

Two cousins, irreversibly damaged by a childhood prank, reunite twenty years later to renovate a medieval


Award-winning author Jennifer Egan brilliantly conjures a world from which escape is impossible and where the keep –the tower, the last stand –is both everything worth protecting and the very thing that must be surrendered in order to survive.

Two cousins, irreversibly damaged by a childhood prank, reunite twenty years later to renovate a medieval castle in Eastern Europe. In an environment of extreme paranoia, cut off from the outside world, the men reenact the signal event of their youth, with even more catastrophic results. And as the full horror of their predicament unfolds, a prisoner, in jail for an unnamed crime, recounts an unforgettable story that seamlessly brings the crimes of the past and present into piercing relation.

Editorial Reviews

Jennifer Egan grabbed our attention with her 2001 National Book Award finalist, Look at Me, a darkly fascinating novel that intertwined the stories of two troubled women named Charlotte. In this chilling follow-up -- a deft mix of psychological suspense, unconventional romance, and eerie allegory -- Egan hones the interlocking-tales device to razor-edged perfection. One story takes place in an ancient European castle, the other in a 21st-century prison; but at their intersection lies a third tale more haunting and disturbing still. This spellbinding novel kept us glued to the page right up to its haunting, unforgettable conclusion.
This shrewd gothic novel is Jennifer Egan's ambitious, sure-handed follow-up to her National Book Award finalist Look at Me. The Keep pairs two cousins who haven't seen one another in 20 years. A near-deadly prank caused their separation: As a teenager, Danny had left Howie injured and helpless in a cave for several days. The incident completely changed the Howie's life; the once insecure schoolboy transformed himself into a millionaire entrepreneur. Now retired at 34, he invites his old nemesis to his hotel in Eastern Europe. But Danny (and the reader) can't help but wonder whether some dire plan is lurking beneath this generous invitation….
Madison Smartt Bell
Egan shares [John] Fowles’s unusual gift for transporting the reader into a world where magical thinking actually works. In Egan’s case it also counts for something real, durable and concrete. The result is a work both prodigiously entertaining and profoundly moving. Ray’s motives for inventing this tale are mostly left to the reader’s inference; what he and Egan show in the end is that art and the imagination are the most powerful means of healing.
— The New York Times
Publishers Weekly
When Gurner reads conversations, he announces the name of the person before reading the dialogue. This technique is as annoying as it is helpful, making the recording sound more like a grade school teacher reading aloud rather than a sophisticated audiobook production. Inmate Ray is working on a gothic novel at his prison's writing workshop. Eagan alternates chapters between him in prison and the adventures of his alter ego, Danny, within the novel. The speech patterns of Ray's fellow inmates are nicely individualized, but the women who inhabit the embedded novel are too similar. Geneva Carr appears only in the third part of the novel (on the last disc). As the voice of Ray's creative writing teacher and love interest, Carr explores the complexities of a woman who falls for a prisoner and makes listeners wish she'd had more to do in this production. The Keep is a clever, quirky novel that ping-pongs the listener between a medieval castle that kept people out and a modern prison that fences people in until the two worlds collide. Simultaneous release with the Knopf hardcover (Reviews, Apr. 3). (Aug.) Copyright 2006 Reed Business Information.
Library Journal
Egan's first work after National Book Award finalist Look at Me relates the story of aimless Danny, whose only talent is being in the right place at the right time and knowing the right people. He's so intent on maintaining this sense of supreme cool-which he calls alto-that he drags a satellite dish all the way to central Europe, where rich cousin Howie has bought a castle he plans to turn into a hotel. Howie is looking for a little alto of his own and wants Danny's help, never mind the ancient baroness hanging on heartlessly in the castle's keep. Soon, echoes of the past set Danny's head spinning, and he thinks Howie is out to revenge a nasty childhood prank. The histories of other people get layered in as well: there's Ray, who's writing Danny's story from a jail cell and whose connection to the events emerges slowly, and Holly, the prison writing instructor with a past. Their stories enhance Danny's, but they're not as developed and don't fit in so smoothly, somewhat roughing up the narrative arc toward the end. Yet the novel can be recommended for most collections as an engrossing narrative told in prose that's remarkably fresh and inventive. [See Prepub Alert, LJ 4/1/06.]-Barbara Hoffert, Library Journal Copyright 2006 Reed Business Information.
Kirkus Reviews
Two cousins linked by a shameful secret, a convicted murderer and a reformed meth freak are unlikely co-conspirators in this adventurous new novel by Egan (Look at Me, 2001, etc.). Aging party boy Danny is uneasy at the castle recently purchased by his cousin Howie in a remote area of central Europe. True, a "misunderstanding" with some very tough customers made it imperative to get out of New York City, and his cousin sent him a ticket. But has Howie really forgiven Danny for abandoning him in an underground cave when they were teenagers, a trauma that led him to drugs and crime? Well, maybe, since Howie eventually became a bond trader rich enough to retire at 34 and dream of turning the castle into a unique kind of hotel. "Let people be tourists of their own imaginations," he says, explaining that the castle will be free of all electronic distractions. Danny, who panics without his cell phone and Internet connection, is incredulous; when Howie says, "Imagination! It saved my life," his guilty cousin is sure he's making reference to that fateful day in the cave. No sooner are we immersed in this intriguing setup than the author pulls back to reveal that it's the creation of Ray, who's taking a writing course to kill time in jail. This storytelling strategy is hard to pull off, since one tale is almost always more interesting than the other, but Egan's characterizations and plotting are so strong that we're eager to find out where both sets of protagonists are heading even before it becomes clear that Ray is describing something that actually happened to him. As the focus shifts once again, this time to Ray's teacher Holly, all the narrative strands come together to underscore the themeEgan movingly delineates throughout: the power of art to transform even the most twisted and hopeless lives. There are a few slow spots, and the beautiful prose doesn't entirely disguise how wildly improbable the novel's events are, but the characters' emotions are so real, the author's insights so moving, that readers will be happy to be swept away. Intelligent, challenging and exciting. First printing of 100,000
From the Publisher
“Dazzling. . . . Prodigiously entertaining and profoundly moving.”—Madison Smartt Bell, The New York Times Book Review“Daring. . . . Irresistibly suspenseful.” —The Los Angeles Times“The events that transpire are so surprising and provocative, the humor so wry, the sheer pleasure of reading The Keep so great, one instantly feels impelled to read it again. . . . Satirically sublime.”—Chicago Tribune “Roiling and captivating. . . . As you finish this novel, part horror tale, part mystery, part romance, the mind lingers over it, amazed by how vivid Egan has made it, how witty, how disturbing, how credible, and yet how utterly fantastic.”—O, The Oprah Magazine“This neo-gothic tale conjures a wicked form of therapy for BlackBerry-addicted urbanites. . . . Egan’s clever scenario presents Danny’s mental liberation as both thrilling and dangerous—imagination is the ultimate drug, she suggests—and the novel luxuriates in Wilkie Collins–style atmospherics.”—The New Yorker“Egan is an exceptionally intelligent writer whose joy at appropriating and subverting genres and clichés—from prison memoir to Gothic ghost story—is evident on every dizzyingly inventive page.”—The Washington Post“[A] remarkable piece of work. . . . Egan effectively echoes the works of Gothic writers such as Ann Radcliffe (The Mysteries of Udolpho) and Horace Walpole (Castle of Otranto), fusing a seemingly moribund genre with elements borrowed from the metafictions of John Barth, Italo Calvino and others. It's tricky; but it’s a trick only a terrifically talented writer could pull off.”—San Francisco Chronicle“If Kafka's Joseph K. and Lewis Carroll’s Alice had a son, he would have to be Jennifer Egan’s Danny. . . . No matter how many symbols and zany subplots she juggles . . . the novelist keeps the action moving and the irony biting.”—Boston Sunday Globe“Intelligent, intense and remarkably intuitive. . . . Jennifer Egan gives us the satisfying thunk of a fully understood if unexpected, kind of sense.”—Nan Goldberg, The New York Observer“It’s precisely Egan’s talent for tapping into the American subconscious—with deeply intuitive forays into the darker aspects of our technology–driven, image–saturated culture—that has established the author and journalist as a prescient literary voice.”—Vogue“Jennifer Egan spins a haunting tale. . . . Egan’s brilliance is in balancing the deliciously creepy elements of gothic–castle novels with the dead–on realism of a prisoner’s life, to create a book worth keeping.”—Elissa Schappell, Vanity Fair“Egan’s third novel . . . is a strange, clever, and always compelling meditation on the relationship between the imagination and the captivities (psychological, metaphysical, and even physical) of modern life.”—The Atlantic Monthly“Visionary . . . at once hyperrealistic and darkly dreamed. . . . With Egan’s powers of invention running at full tilt, The Keep reads like a twenty-first-century mash-up of Kafka, Calvino, and Poe, in which the absurd meets the surreal meet the unspeakable—to edgy, entertaining effect.”—Lisa Shea, ElleThe Keep is an example of literature responding to current events not with a mirror but an artful mindfuck.” —David Bahr, Time Out New York“With The Keep, Egan breaks the mold from page one. Her muscular, lively prose achieves a haunting effect. . . . [The book] maintains a frightening, vertiginous velocity. . . . And the immersion in these high-stakes psychological tightrope acts gives The Keep a page-turning horror. . . . Outstanding.”—The Onion“Egan gets everything right–from the convolutions of the strung-out male mind to the self-deceptions of a drug addict–and her skill will keep you marveling at the pages that you can’t help turning.”—People“Like an old spirit who refuses to go away, this is one fantasy that haunts long after its physical end.”—The Boston Phoenix“Egan is both a captivating storyteller and an incisive social observer. . . . The events that transpire are so surprising and provocative, the humor so wry, the sheer pleasure of reading The Keep so great, one instantly feels impelled to read it again, an impulse that is grandly rewarded, so masterful is Egan’s foreshadowing, so nuanced and mysterious is the story. Gothic and chthonic, The Keep is satirically sublime.”—The Chicago Tribune“Arresting . . . insightful and often funny, so fluid that you actually have the sensation of sinking into these lives . . . strange and beautifully drawn, a place well worth visiting.”—Susan Kelly, USA Today“Dazzling . . . a metafictional tour de force . . . it draws us in with its compelling realism as surely as anything by Dickens or Balzac—not to mention Henry James, who understood better than anyone how to turn the screw.”—Chicago Sun-Times“Steeped in Gothic mystery and plugged into our wired, up–to–the–minute cultures, The Keep is a hypnotic tale of unexpected connections between isolated people, each concealing secrets that ultimately upend how we see them. . . . Though dark with betrayal and violence (both psychological and literal), The Keep ultimately reveals itself to be a love letter to the creative impulse.”—NewsdayThe Keep is a novel of ideas.”—Poets & Writers“An engrossing narrative told in prose that’s remarkably fresh and inventive.”—Library Journal“Atmospheric and tense, this is a mesmerizing story.”—Booklist“Jennifer Egan is a contemporary American storyteller in the vein of Stephen King or The Sopranos scriptwriters. Her latest novel, a slightly gothic tale of love and the (possibly) supernatural, is a pleasure to read. . . . Egan’s eye and ear for contemporary America places the whole saga too close to home for fantasy.”—Emily Carter Roiphe, Minneapolis Star-Tribune“A dark and fascinating journey. . . . Egan skillfully builds the tension to a tipping point, culminating in an explosion. . . . The complicated plot comes together seamlessly, marvelously. . . . It’s a novel that engages and haunts the reader, a psychological who’s–who, who–dun–what and how–do–they–go–on. The Keep is a fast an furious read, a perfect summer novel.”—Rocky Mountain News“Egan . . . makes it all work. How she weaves the story of these four people together—and the unexpected links between them—is fascinating.”—The Oregonian“The book itself is a stronghold of imaginative story telling, the last stand of the Gothic novel.”—The Philadelphia Inquirer“Exhilarating . . . Context and borders shift and dissolve, and the reader experiences the precise frisson the gloomy genre of Gothic is meant to convey: the wonder, the terror and the trapped chill of fear that resolves in a mind-expanding realization of the dimensions within your own head. In a word: sublime.”—Linda Marotta, Fangoria“Part gothic romance, part ghost story, and peppered with Egan’s startling insights into the role of communication and loneliness in contemporary life, this is one brainy page-turner that will have you leaving the lights on at night.”—iVillageThe Keep is a cinematic treat for the inner eye, moving as it does between the musty dungeons of an ancient power to a prison full of angry men and deep into the souls of the walking dead—those riddled with guilt, lust and loneliness.”—Santa Cruz SentinelThe Keep is imaginatively plotted and keeps you guessing until its final chapter. Far from seeming in any way contrived or dependent upon props or plot stratagems, Egan’s storytelling reaffirms the quality that defines ‘literary’ suspense.”—Pittsburgh Tribune-Review“Jennifer Egan’s The Keep is a page–turner.”—The Austin Chronicle“An addictive, clever story.”—The Register-Guard“A psychological drama inside a haunted house tale wrapped in a prison memoir that never fails to stoke the imagination. . . . An original thrill ride of a novel.”—Times-Leader“A chilling tour de force made eerily real.”—Bookpage“Egan’s story, like the elusive castle with its unexplored rooms and uncharted underground tunnels, keeps transforming into new realities as she unveils some extraordinary surprises along the way. Jennifer Egan is a very fine writer, whose characters and plot will keep you up late reading and pondering its fascinating turns.”—San Antonio Express-News

Product Details

Blackstone Audio, Inc.
Publication date:
Edition description:
Unabridged Edition
Product dimensions:
5.44(w) x 6.26(h) x 1.32(d)

Read an Excerpt

The Keep

By Jennifer Egan

Random House

Jennifer Egan
All right reserved.

ISBN: 1400043921

Chapter One

The castle was falling apart, but at 2 a.m. under a useless moon, Danny couldn't see this. What he saw looked solid as hell: two round towers with an arch between them and across that arch was an iron gate that looked like it hadn't moved in three hundred years or maybe ever.

He'd never been to a castle before or even this part of the world, but something about it all was familiar to Danny. He seemed to remember the place from a long time ago, not like he'd been here exactly but from a dream or a book. The towers had those square indentations around the top that little kids put on castles when they draw them. The air was cold with a smoky bite, like fall had already come even though it was mid-August and people in New York were barely dressed. The trees were losing their leaves--Danny felt them landing in his hair and heard them crunching under his boots when he walked. He was looking for a doorbell, a knocker, a light: some way into this place or at least a way to find the way in. He was getting pessimistic.

Danny had waited two hours in a gloomy little valley town for a bus to this castle that never frigging came before he looked up and saw its black shape against the sky. Then he'd started to walk, hauling his Samsonite and satellite dish a couple of miles up this hill, the Samsonite's puny wheels catching on boulders andtree roots and rabbit holes. His limp didn't help. The whole trip had been like that: one hassle after another starting with the red eye from Kennedy that got towed into a field after a bomb threat, surrounded by trucks with blinky red lights and giant nozzles that were comforting up until you realized their job was to make sure the fireball only incinerated those poor suckers who were already on the plane. So Danny had missed his connection to Prague and the train to wherever the hell he was now, some German-sounding town that didn't seem to be in Germany. Or anywhere else--Danny couldn't even find it online, although he hadn't been sure about the spelling. Talking on the phone to his Cousin Howie, who owned this castle and had paid Danny's way to help out with the renovation, he'd tried to nail down some details.

Danny: I'm still trying to get this straight--is your hotel in Austria, Germany, or the Czech Republic?

Howie: Tell you the truth, I'm not even clear on that myself. Those borders are constantly sliding around.

Danny (thinking): They are?

Howie: But remember, it's not a hotel yet. Right now it's just an old--

The line went dead. When Danny tried calling back, he couldn't get through.

But his tickets came the next week (blurry postmark)--plane, train, bus--and seeing how he was newly unemployed and had to get out of New York fast because of a misunderstanding at the restaurant where he'd worked, getting paid to go somewhere else--anywhere else, even the fucking moon--was not a thing Danny could say no to.

He was fifteen hours late.

He left his Samsonite and satellite dish by the gate and circled the left tower (Danny made a point of going left when he had the choice because most people went right). A wall curved away from the tower into the trees, and Danny followed that wall until woods closed in around him. He was moving blind. He heard flapping and scuttling, and as he walked the trees got closer and closer to the wall until finally he was squeezing in between them, afraid if he lost contact with the wall he'd get lost. And then a good thing happened: the trees pushed right through the wall and split it open and gave Danny a way to climb inside.

This wasn't easy. The wall was twenty feet high, jagged and crumbly with tree trunks crushed into the middle, and Danny had a tricky knee from an injury connected to the misunderstanding at work. Plus his boots were not exactly made for climbing--they were city boots, hipster boots, somewhere between square-tipped and pointy--his lucky boots, or so Danny thought a long time ago, when he bought them. They needed resoling. The boots were skiddy even on flat city concrete, so the sight of Danny clawing and scrambling his way up twenty feet of broken wall was not a thing he would've wanted broadcast. But finally he made it, panting, sweating, dragging his sore leg, and hoisted himself onto a flat walkway-type thing that ran on top of the wall. He brushed off his pants and stood up.

It was one of those views that make you feel like God for a second. The castle walls looked silver under the moon, stretched out over the hill in a wobbly oval the size of a football field. There were round towers every fifty yards or so. Below Danny, inside the walls, it was black--pure, like a lake or outer space. He felt the curve of big sky over his head, full of purplish torn-up clouds. The castle itself was back where Danny had started out: a clump of buildings and towers jumbled together. But the tallest tower stood off on its own, narrow and square with a red light shining in a window near the top.

Looking down made something go easier in Danny. When he first came to New York, he and his friends tried to find a name for the relationship they craved between themselves and the universe. But the English language came up short: perspective, vision, knowledge, wisdom--those words were all too heavy or too light. So Danny and his friends made up a name: alto. True alto worked two ways: you saw but also you could be seen, you knew and were known. Two-way recognition. Standing on the castle wall, Danny felt alto--the word was still with him after all these years, even though the friends were long gone. Grown up, probably.

Danny wished he'd brought his satellite dish to the top of this wall. He itched to make some calls--the need felt primal, like an urge to laugh or sneeze or eat. It got so distracting that he slithered back down off the wall and backtracked through those same pushy trees, dirt and moss packed under his longish fingernails. But by the time he got back to the gate his alto was gone and all Danny felt was tired. He left the satellite dish in its case and found a flat spot under a tree to lie down. He made a pile out of leaves. Danny had slept outside a few times when things got rough in New York, but this was nothing like that. He took off his velvet coat and turned it inside out and rolled it into a pillow at the foot of the tree. He lay on the leaves faceup and crossed his arms over his chest. More leaves were coming down. Danny watched them spinning, turning against the half-empty branches and purple clouds, and felt his eyes start to roll back into his head. He was trying to come up with some lines to use on Howie--

Like: Hey man, your welcome mat could use a little work.

Or else: You're paying me to be here, but I'm figuring you don't want to pay your guests.

Or maybe: Trust me, outdoor lighting is gonna rock your world.

--just so he'd have some things to say if there was a silence. Danny was nervous about seeing his cousin after so long. The Howie he knew as a kid you couldn't picture grown up--he'd been wrapped in that pear-shaped girl fat you see on certain boys, big love handles bubbling out of the back of his jeans. Sweaty pale skin and a lot of dark hair around his face. At age seven or eight, Danny and Howie invented a game they'd play whenever they saw each other at holidays and family picnics. Terminal Zeus it was called, and there was a hero (Zeus), and there were monsters and missions and runways and airlifts and bad guys and fireballs and high-speed chases. They could play anywhere from a garage to an old canoe to underneath a dining room table, using whatever they found: straws, feathers, paper plates, candy wrappers, yarn, stamps, candles, staples, you name it. Howie thought most of it up. He'd shut his eyes like he was watching a movie on the backs of his eyelids that he wanted Danny to see: Okay, so Zeus shoots Glow-Bullets at the enemy that make their skin light up so now he can see them through the trees and then--blam!--he lassos them with Electric Stunner-Ropes!

Sometimes he made Danny do the talking--Okay, you tell it: what does the underwater torture dungeon look like?--and Danny would start making stuff up: rocks, seaweed, baskets of human eyeballs. He got so deep inside the game he forgot who he was, and when his folks said Time to go home the shock of being yanked away made Danny throw himself on the ground in front of them, begging for another half hour, please! another twenty minutes, ten, five, please, just one more minute, pleasepleaseplease? Frantic not to be ripped away from the world he and Howie had made.

The other cousins thought Howie was weird, a loser, plus he was adopted, and they kept their distance: Rafe especially, not the oldest cousin but the one they all listened to. You're so sweet to play with Howie, Danny's mom would say. From what I understand, he doesn't have many friends. But Danny wasn't trying to be nice. He cared what his other cousins thought, but nothing could match the fun of Terminal Zeus.

When they were teenagers, Howie changed--overnight was what everyone said. He had a traumatic experience and his sweetness drained away and he turned moody, anxious, always wiggling a foot and muttering King Crimson lyrics under his breath. He carried a notebook, even at Thanksgiving it was there in his lap with a napkin on it to catch the gravy drips. Howie made marks in that book with a flat sweaty pencil, looking around at different family members like he was trying to decide when and how they would have to die. But no one had ever paid much attention to Howie. And after the change, the traumatic incident, Danny pretended not to.

Of course they talked about Howie when he wasn't there, oh yeah. Howie's troubles were a favorite family topic, and behind the shaking heads and oh it's so sads you could hear the joy pushing right up through because doesn't every family like having one person who's fucked up so fantastically that everyone else feels like a model citizen next to him? If Danny closed his eyes and listened hard he could still pick up some of that long-ago muttering like a radio station you just barely hear: Howie trouble drugs did you hear he was arrested such an unattractive boy I'm sorry but can't May put him on a diet he's a teenager no it's more than that I have teenagers you have teenagers I blame Norm for pushing adoption you never know what you're getting it all comes down to genes is what they're learning some people are just bad or not bad but you know exactly not bad but just exactly that's it: trouble.

Danny used to get a weird feeling, overhearing this stuff when he came in the house and his mom was talking on the phone to one of his aunts about Howie. Dirt on his cleats after winning a game, his girlfriend Shannon Shank, who had the best tits on the pom squad and maybe the whole school all set to give him a blow job in his bedroom because she always did that when he won, and thank God he won a lot. Hiya, Mom. That square of purple blue almost night outside the kitchen window. Shit, it hurt Danny to remember this stuff, the smell of his mom's tuna casserole. He'd liked hearing those things about Howie because it reminded him of who he was, Danny King, suchagoodboy, that's what everyone said and what they'd always said but still Danny liked hearing it again, knowing it again. He couldn't hear it enough.

That was memory number one. Danny sort of drifted into it lying there under the tree, but pretty soon his whole body was tensed to the point where he couldn't lie still. He got up, swiping twigs off his pants and feeling pissed off because he didn't like remembering things. Walking backwards was how Danny thought of that and it was a waste of valuable resources anywhere, anytime, but in a place he'd spent twenty-four hours trying to escape to it was fucking ridiculous.

Danny shook out his coat and pulled it back over his arms and started walking again, fast. This time he went right. At first there was just forest around him, but the trees started thinning out and the slant under his feet got steeper until Danny had to walk with his uphill leg bent, which sent splinters of pain from his knee to his groin. And then the hill dropped away like someone had lopped it off with a knife and he was standing on the edge of a cliff with the castle wall pushed right up against it, so the wall and the cliff made one vertical line pointing up at the sky. Danny stopped short and looked over the cliff's edge. Below, a long way down: trees, bushy black with a few lights packed deep inside that must be the town where he'd waited for the bus.

Alto: he was in the middle of frigging nowhere. It was extreme, and Danny liked extremes. They were distracting.

If I were you, I'd get a cash deposit before I started asking people to spelunk.

Danny tilted his head back. Clouds had squeezed out the stars. The wall seemed higher on this side of the castle. It curved in and then back out again toward the top, and every few yards there was a narrow gap a few feet above Danny's head. He stood back and studied one of these openings--vertical and horizontal slits meeting in the shape of a cross--and in the hundreds of years since those slits had been cut, the rain and snow and what-have-you must have opened up this one a little bit more. Speaking of rain, a light sprinkling was starting that wasn't much more than a mist, but Danny's hair did a weird thing when it got wet that he couldn't fix without his blow dryer and a certain kind of mousse that was packed away in the Samsonite, and he didn't want Howie to see that weird thing. He wanted to get the fuck out of the rain. So Danny took hold of some broken bits of wall and used his big feet and bony fingers to claw his way up to the slot. He jammed his head inside to see if it would fit and it did, with just a little room to spare that was barely enough for his shoulders, the widest part of him, which he turned and slid through like he was sticking a key in a lock. The rest of him was easy.


Excerpted from The Keep by Jennifer Egan Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

Jennifer Egan is the author of four novels: A Visit from the Goon SquadThe Keep, Look at Me, The Invisible Circus; and the story collection Emerald City. Her stories have been published in The New Yorker, Harper’s Magazine, GQ, Zoetrope, All-Story, and Ploughshares, and her nonfiction appears frequently in The New York Times Magazine. She lives with her husband and sons in Brooklyn.

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The Keep 3.6 out of 5 based on 0 ratings. 32 reviews.
Anonymous More than 1 year ago
I was drawn to this novel by the cover and description...a suspenseful, psychological, gothic atmosphere...exactly my cup of tea. When I hear words like castle, baroness, and twins, I know that I will be taken for a ride. When this book was good, it was very, very good, and when it was bad, well, you know the rest. The Keep intersects two stories, one set in a castle in Europe, the other in a prison. The castle was recently bought by Howie, who wants to turn it in to a hotel. He asks his cousin, Danny, to come to Europe to help him with the renovation. The cousins share a long-lost secret from the past, and it does not take Egan very long to share this secret with her readers. Danny immediately knows that something is not quite right, especially when he meets the old baroness, who refuses to leave the "keep" of the castle. The jail story is not as interesting as the castle story, but they do eventually intersect in a creative way. It is interesting that The Keep tells dual stories, because I felt different ways reading it. It tells its stories very succinctly, but then has abstract, open-ended parts, where the reader has no idea what just happened. I felt the same way about The Glister as I do about The Keep. If I am going to spend a few days of my life reading a novel, I want to have definitive answers about what happens to the characters. Instead, I was left scratching my head. MY RATING - 3/5 To see my rating scale and other reviews, please check out my blog: http://www.1776books.blogspot.com
Anonymous More than 1 year ago
Jennifer Egan does her very best in this book. She has an incredible feel for the reader. The plot moves quickly. I am about to reread it. I hope that all who buy this book enjoy the journey this book takes you on.
Guest More than 1 year ago
I really, really loved this book, from beginning to end. I don't particularly like Gothic novels but the story is gripping, especially when you start to question the narrator's sanity and are infected with the 'worm' he calls insecurity and paranoia. You don't know which characters to trust or doubt and as the story reaches its climax, everything you might have believed to be true is turned around. I actually did figure out who the inmate was about 100 pages in but it didn't ruin the surprise at the end. I think the different narratives are masterfully woven together and all the characters become familiar and even sympathetic, because of their flaws and questionable judgement. Very realistic characters, an unstoppable story, and a densely layered plot make this a very worthwhile read, especially for fans of mysteries and ghost stories.
Guest More than 1 year ago
I did not find it boring at all. It was not quite what I expected and if you are looking for an on the edge of your seat breathtaking suspense novel... well, I would look else where. However, I think it is a nice follow up to 'Look At Me' and really shows Egan's versatility as a writer and boosts her credibility. I would suggest to anyone reading these reviews not to be influenced by others. The beauty of literature is that it is an abstract extension of the author. It is a piece of art, and art is objective. Some may like a work of art and others may hate it. It's imperative however to make your own conclusion. I feel this is an excellent novel in light of other releases in 2006. However, I must agree with some of the other reviewers and admit that some parts were confusing. It seems rushed. Egan could have spent a little more time developing some of the chapters but overall I felt it was a good read.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
I love this book. I already purchased two copies since I lost my first one. This is the type of book you can read and transport yourself into the world in the book.
Anonymous More than 1 year ago
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Octospark More than 1 year ago
I love Jennifer Egan. She's like an amazing actor who takes risks on stage the way she is unafraid to both reveal and hide elements of her story that snake through, simmering at a low boil, then slither up to surprise you in the end. Just like A Visit From The Goon Squad (which just won the Pulitzer for fiction), The Keep keeps you guessing where it is going to go and what is going to happen. It's difficult to review it without giving any of it away...but an old-school gothic meta-concoction of plot, characters, and situations all set in a modern time kept this book intriguing to me. Thematically, what I took away from the book was the guilt and regret from the past that imprisons and haunts you and the ways in which a subtle desperation you didn't even know you possessed might draw you toward places and people that are not good for you. For me it felt a little like Charles Dickens meets Stephen King. Loved it.
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Guest More than 1 year ago
I quickly became engrossed in this book- it grabs you right from the start, which is good, but it started taking these turns and ended up being unlike how it started and very different from what I thought would happen. If you like a bit of unpredictability in the plot, you'll probably like it. I just wanted more of the other stuff and it never was mentioned again. But I did like it- I enjoyed the author's writing style and might try another one of her books.
Guest More than 1 year ago
I loved this book. It was enticing and engaging. It is a real page turner and anyone who loves a spooky tale with a twist should definitely read this book!
Guest More than 1 year ago
It was a mess to read, not counting the misprints. I kept reading, each chapter would take you some place else that made you lose track of what you were reading, I almost wanted to read the chapters that pertained to each other'not the order they were presented'. I never found out most how's, what's etc. the ending was so frustrating I literally threw the book across the room. I felt that I read an entire book and have no idea what is was about, plot, etc. Awful just Awful.
Guest More than 1 year ago
Something different and very creative! Expressed many true, usually unspoken feelings that people may antagonize over.
Guest More than 1 year ago
I found 'The Keep' to be wildly disappointing, and yet Ms. Egan is getting loads of positive press for this trainwreck of a novel. The book is flawed at its core. An attempt at metatextual commentary--which doubtless earned Ms. Egan some brownie points with the contemporary literary elite--goes awry. She places the entire implausible, cliche, cheaply Gothic story into the hands of an inmate who happens to be taking a writing seminar while incarcerated (his motivation for this rather profound undertaking remains utterly ambiguous, as does the major question of whether his description is intended to be factual or fictional). Placing the momentous task of novel-length narration into the hands of a character purported to be an unremarkable and undereducated criminal is a literarily reckless decision on the part of Ms. Egan. The result is an intelligent novelist's poor effort to 'rough up' her own language to make it sound more convincing the narrator's voice does not sound like that of the inmate it supposedly belongs to, nor does it sound like that of a proficient and well-respected novelist. It was here that Ms. Egan should have stopped and asked herself whether anyone would be interested in reading a full novel's worth of prose written presumably by an inmate just barely learning to write narrative prose. Egan also gained some accolades by aligning the imprisonment of her narrator with the connotations of imprisonment embodied by the keep itself. This was a somewhat dull and comparison, and when the two narratives finally collide, it was long overdue and utterly anticipated. The main issue, however, rests with the characters themselves. The main protagonist is purported to by a too-old New York City hipster (who, by the way claims to know and recognize passersby as he traverses the city--a claim which is utterly discrediting yet Egan's effort to prove how much a New Yorker Danny really is) who's still immature enough to walk around in full Goth attire (complete with black lipstick--sounds to me like a troubled middle-school boy) and suffer from an obsessive complex in which he demands the connectivity of telecommunications lest he shrivel into nonexistence--a rather hyperbolic and ridiculous effort at social commentary. Ultimately, the disparate elements of this farcical travesty spin idiotically around while the novel bursts at the seams. The characters are one-dimensional, the narration itself is goaded forward by a too-cool-to-care criminal, and when the parallel plots finally merge into one, the reader is left baffled by Egan's presumption that the reader is actually going to take it seriously. Hailed by the New York Times as a fiercely 'realistic' novel, 'The Keep' is anything but. It is a circus-ring disaster that I found totally aggravating to read and unimaginably foolish. My advice: don't waste your time.
Guest More than 1 year ago
I'm sure the previous rater meant that art is *subjective* rather than objective... however, as art I'm not sure this rises too much above the level of 'starving artist'. It was good with a big 'but' appended to my opinion. I was really intrigued by the concept of 'The Keep' when I read reviews. Was it a mystery set in a medieval castle? A story of redemption for a former meth-addict writing teacher and/or the convicted murderer inmate? As it turned out it's none of the above. Ms Egan starts with a tempting storyline, and lets it drift away. The reader leaves the E. Europe setting with a story far from complete - that we've spent most of the book building up. As we enter the parallel confines of the prison (which, itself, has an insubstantial - almost irrelevant - subplot), we aren't given enough time/pages to appropriately transition the well-earned suspense to the new setting/characters. One track ends before it's ready - the other is never really allowed to begin. It would be one thing to leave the reader dangling if the story pointed back to us - daring us to self-reflect - but it doesn't. All said, the story has unrealized promise. I'm left wanting more - wishing Ms Egan had finished the thought she started, rather than abandoning it in favor of a story she has no intention of taking to a satisfying conclusion.
Guest More than 1 year ago
Boring - confusing - I couldn't finish it fast enough!