"synopsis" may belong to another edition of this title.
Part of the narrative consists of Herbert White's journal, and this is the best part of Mr. White's Confession. Here Clark creates a voice that is both innocent and formal and, most of all, blind to its own desires. Recalling a visit by Ruby Fahey, one of the eventual victims, the photographer writes: "She went back to my bedroom to change, and I must say I felt a huge sort of breathlessness at the idea that she was in my room shedding and then donning her garments, rather as if some mystery of great enormity were taking place right here in my humble quarters!" Horner's half of the narrative, alas, is weighted down by tired lyricism, and populated by a hard-boiled cast straight out of Raymond Chandler. The result is a gripping mystery with an anticlimactic ending--less a philosophical resolution than the tail of a shaggy-dog story. --Emily Hall
"As thrilling as it is unnerving....Could have been written by Dashiell Hammett or James Crumley--at their best." --Greil Marcus, Esquire
"A pulsing tale of redemption and original goodness." --Pico Iyer, Time
"Strong, brooding...Clark's most striking achievement is Herbert's ambiguity, making it appear at once vulnerable and threatening." --Dan Cryer, Newsday
"Complex...intriguing...a fascinating and timely journey into the American psyche." --Barbara Lloyd McMichael, Seattle Times
"A novel of substance...reveals the subtlety of [Robert Clark's] artistry and the profundity of his vision." --Merle Rubin, The Wall Street Journal
"The long ruminations of Mr. White...give the book its intensity and mystery." --The New Yorker
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