03 February 2017
John Darnielle's first novel (after the uncategorizable critical novella Black Sabbath's Master of Reality), Wolf in White Van, got a lot of attention and made the longlist for the 2014 National Book Awards. I read it when it came out, since I adore Darnielle's work as singer-songwriter for The Mountain Goats, and thought maybe he'd be okay at writing novels, too, though I tried not to get my hopes up. After a few pages, I was entranced, and read the book quickly, almost in a fugue state, stopping only because at times I found it emotionally overwhelming. I never wrote about it because I didn't know how to do so in any way other than to say, "Go read this." To explain what made the book such a rich reading experience for myself would require delving into a lot of weirdnesses of personal response, useless to anybody else, and to talk much about the plot and structure would be to give away part of the novel's magic. I am not at all a spoiler alerter — quite the opposite, in fact, and I generally feel that any book or movie requiring a spoiler alert is a book or movie without much of interest beyond its plot machinations — but there are always exceptions, and the elegance with which Wolf shuffles and deals its information is such a carefully controlled performance that even to speak of the story's premise felt to me like a violation. (And it's not about Big Surprises. It doesn't take long to guess the big stuff; it's the way the information accumulates that is so powerful, so masterful.)
Universal Harvester is even more narratively tricksy than Wolf in White Van, but it seems to me much less harmed by description and analysis, and so I will offer here a few preliminary notes about the novel, with the assumption that you haven't read it but are, for whatever reason, nonetheless curious about its structure and effect.