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Donna Tartt

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The Little Friend: A Novel (Vintage Contemporaries) Kindle Edition

by Donna Tartt (Author) Format: Kindle Edition

3.9 6,918 ratings

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NATIONAL BESTSELLER • From the Pulitzer Prize-winning author of The Goldfinch comes an utterly riveting novel set in Mississippi of childhood, innocence, and evil. • “Destined to become a special kind of classic.” —The New York Times Book Review

The setting is Alexandria, Mississippi, where one Mother’s Day a little boy named Robin Cleve Dufresnes was found hanging from a tree in his parents’ yard. Twelve years later Robin’s murder is still unsolved and his family remains devastated. So it is that Robin’s sister Harriet—unnervingly bright, insufferably determined, and unduly influenced by the fiction of Kipling and Robert Louis Stevenson--sets out to unmask his killer. Aided only by her worshipful friend Hely, Harriet crosses her town’s rigid lines of race and caste and burrows deep into her family’s history of loss. Filled with hairpin turns of plot and “a bustling, ridiculous humanity worthy of Dickens” (The New York Times Book Review), The Little Friend is a work of myriad enchantments by a writer of prodigious talent.

Editorial Reviews

From Publishers Weekly

Widely anticipated over the decade since her debut in The Secret History, Tartt's second novel confirms her talent as a superb storyteller, sophisticated observer of human nature and keen appraiser of ethics and morality. If the theme of The Secret History was intellectual arrogance, here it is dangerous innocence. The death of nine-year-old Robin Cleve Dufresnes, found hanging from a tree in his own backyard in Alexandria, Miss., has never been solved. The crime destroyed his family: it turned his mother into a lethargic recluse; his father left town; and the surviving siblings, Allison and Harriet, are now, 12 years later-it is the early '70s-largely being raised by their black maid and a matriarchy of female relatives headed by their domineering grandmother and her three sisters. Although every character is sharply etched, 12-year-old Harriet-smart, stubborn, willful-is as vivid as a torchlight. Like many preadolescents, she's fascinated by secrets. She vows to solve the mystery of her brother's death and unmask the killer, whom she decides, without a shred of evidence, is Danny Ratliff, a member of a degenerate, redneck family of hardened criminals. (The Ratliff brothers are good to their grandmother, however; their solicitude at times lends the novel the antic atmosphere of a Booth cartoon.) Harriet's pursuit of Danny, at first comic, gathers fateful impetus as she and her best friend, Hely, stalk the Ratliffs, and eventually, as the plot attains the suspense level of a thriller, leads her into mortal danger. Harriet learns about betrayal, guilt and loss, and crosses the threshold into an irrevocable knowledge of true evil. If Tartt wandered into melodrama in The Secret History, this time she's achieved perfect control over her material, melding suspense, character study and social background. Her knowledge of Southern ethos-the importance of family, of heritage, of race and class-is central to the plot, as is her take on Southerners' ability to construct a repertoire, veering toward mythology, of tales of the past. The double standard of justice in a racially segregated community is subtly reinforced, and while Tartt's portrait of the maid, Ida Rhew, evokes a stereotype, Tartt adds the dimension of bitter pride to Ida's character. In her first novel, Tartt unveiled a formidable intelligence. The Little Friend flowers with emotional insight, a gift for comedy and a sure sense of pacing. Wisely, this novel eschews a feel-good resolution. What it does provide is an immensely satisfying reading experience.
Copyright 2002 Reed Business Information, Inc.

From Library Journal

Can Tartt duplicate the success of her debut, The Secret History, which appeared ten years ago? At least the chilly ambience is the same: a young girl whose older brother was found murdered when she was just a baby decides to right her life by finding the killer.
Copyright 2002 Reed Business Information, Inc.

From Booklist

*Starred Review* Tartt's second novel (following The Secret History, 1992) is well worth the long wait. It is an exceptionally suspenseful, flawlessly written story fairly teeming with outsize characters and roiling emotion, and at its center, in the eye of the storm, is a ruthlessly clever, poker-faced 12-year-old named Harriet. When she was just a baby, her nine-year-old brother, Robin, was murdered. In the years since, her mother has been entirely defeated by her grief, often lying in bed with a headache, while her father has been absent, working in another town. Harriet's stern grandmother and dithering aunts have idealized and exalted Robin, leaving Harriet and her sister feeling wholly inadequate. After suffering an immense loss--the firing of her "beloved, grumbling, irreplaceable" black maid and surrogate mother--Harriet decides to get revenge on Danny Ratliff, the man she believes murdered her brother. She thinks she can resurrect the happy family she knows only from photographs. With muscular, visceral descriptive prose and a relentless narrative drive--the climax is almost unbearably tense--Tartt details how a young girl exacts street justice with cold cunning. And the abusive Ratliffs are a stunning creation; hopped up on methamphetamine and twisted dynamics, they are a modern-day version of Faulkner's Snopes family. Tartt's first novel was a surprise runaway best-seller; this time around, no one should be taken by surprise. Joanne Wilkinson
Copyright © American Library Association. All rights reserved

Review

“The Little Friend seems destined to become a special kind of classic.... It grips you like a fairy tale, but denies you the consoling assurance that it's all just make-believe.” —The New York Times Book Review

“At times humorous, at times heartbreaking, The Little Friend is most surprising when it is edge of the seat scary.” —USA Today

“Harriet [is] one of the most engaging and rounded characters you are likely to find.... Tartt’s writing: gorgeous, fluent, visual.” —The Times (London)

“Languidly atmospheric ... psychologically acute.... A rich novel that takes you somewhere worth going.” —The New Yorker

“A terrific story.... Tartt etches each of these characters with indelible assurance.” —Newsweek

"Breathtaking ... A sublime tale rich in religious overtones, moral ambiguities, and violent, poetic acts ... From its darkly enticing opening, we are held spellbound." —Elle

"A sprawling story of vengeance, told in a rich, controlled voice ... Tartt has written a grownup book that captures the dark, Lord of the Flies side of childhood and classic children's literature."
—Time

From the Inside Flap

nticipated new novel by the author of The Secret History a best-seller nationwide and around the world, and one of the most astonishing debuts in recent times The Little Friend is even more transfixing and resonant.

In a small Mississippi town, Harriet Cleve Dusfresnes grows up in the shadow of her brother, who when she was only a baby was found hanging dead from a black-tupelo tree in their yard. His killer was never identified, nor has his family, in the years since, recovered from the tragedy.

For Harriet, who has grown up largely unsupervised, in a world of her own imagination, her brother is a link to a glorious past she has only heard stories about or glimpsed in photograph albums. Fiercely determined, precocious far beyond her twelve years, and steeped in the adventurous literature of Stevenson, Kipling, and Conan Doyle, she resolves, one summer, to solve the murder and exact her revenge. Harriet s sole ally in th

From the Back Cover

"This extraordinary book [has] a main character, a twelve-year-old girl named Harriet Cleve Dufresnes, who ranks up there with Huck Finn, Miss Havisham, Quentin Compson, and Philip Marlowe, fictional characters who don't seem in the least fictional . . . If To Kill a Mockingbird is the childhood that everyone wanted and no one really had, The Little Friend is childhood as it is, by turns enchanting and terrifying."
--Malcolm Jones, Newsweek

"Breathtaking . . . A sublime tale rich in religious overtones, moral ambiguities, and violent, poetic acts . . . From its darkly enticing opening, we are held spellbound." --Lisa Shea, Elle

"Readers are easily swept up in [a] darkly comic novel that . . . broadens to examine Southern racial and social strata, religious and generational eccentricities, and the passion of youth that gives way to the ambivalence of age. At times humorous, at times heartbreaking, The Little Friend is most surprising when it is edge-of-your-seat scary." --Dennis Moore, USA Today

"A sprawling story of vengeance, told in a rich, controlled voice . . . Tartt has written a grownup book that captures the dark, Lord of the Flies side of childhood and classic children's literature."
--James Poniewozik, Time

From the Hardcover edition.

About the Author

DONNA TARTT won the 2014 Pulitzer Prize for her most recent Novel. The Goldfinch Her novels The Secret History and The Little Friend were also international bestsellers. She was born in Greenwood, Mississippi, and is a graduate of Bennington College.

Excerpt. © Reprinted by permission. All rights reserved.

For the rest of her life, Charlotte Cleve would blame herself for her son’s death because she had decided to have the Mother’s Day dinner at six in the evening instead of noon, after church, which is when the Cleves usually had it. Dissatisfaction had been expressed by the elder Cleves at the new arrangement; and while this mainly had to do with suspicion of innovation, on principle, Charlotte felt that she should have paid attention to the undercurrent of grumbling, that it had been a slight but ominous warning of what was to come; a warning which, though obscure even in hindsight, was perhaps as good as any we can ever hope to receive in this life.

Though the Cleves loved to recount among themselves even the minor events of their family history–repeating word for word, with stylized narrative and rhetorical interruptions, entire death-bed scenes, or marriage proposals that had occurred a hundred years before–the events of this terrible Mother’s Day were never discussed. They were not discussed even in covert groups of two, brought together by a long car trip or by insomnia in a late-night kitchen; and this was unusual, because these family discussions were how the Cleves made sense of the world. Even the cruelest and most random disasters–the death, by fire, of one of Charlotte’s infant cousins; the hunting accident in which Charlotte’s uncle had died while she was still in grammar school–were constantly rehearsed among them, her grandmother’s gentle voice and her mother’s stern one merging harmoniously with her grandfather’s baritone and the babble of her aunts, and certain ornamental bits, improvised by daring soloists, eagerly seized upon and elaborated by the chorus, until finally, by group effort, they arrived together at a single song; a song which was then memorized, and sung by the entire company again and again, which slowly eroded memory and came to take the place of truth: the angry fireman, failing in his efforts to resuscitate the tiny body, transmuted sweetly into a weeping one; the moping bird dog, puzzled for several weeks by her master’s death, recast as the grief-stricken Queenie of family legend, who searched relentlessly for her beloved throughout the house and howled, inconsolable, in her pen all night; who barked in joyous welcome whenever the dear ghost approached in the yard, a ghost that only she could perceive. “Dogs can see things that we can’t,” Charlotte’s aunt Tat always intoned, on cue, at the proper moment in the story. She was something of a mystic and the ghost was her innovation.

But Robin: their dear little Robs. More than ten years later, his death remained an agony; there was no glossing any detail; its horror was not subject to repair or permutation by any of the narrative devices that the Cleves knew. And–since this willful amnesia had kept Robin’s death from being translated into that sweet old family vernacular which smoothed even the bitterest mysteries into comfortable, comprehensible form–the memory of that day’s events had a chaotic, fragmented quality, bright mirror-shards of nightmare which flared at the smell of wisteria, the creaking of a clothes-line, a certain stormy cast of spring light.

From the Hardcover edition.

From AudioFile

During the last summer of her childhood, Harriet CleveDufresne resolves to find out the answer to the biggest question inher young life: Who hanged her brother dead from a tupelo tree in thefront yard when she was just a baby--and why? At first, it sounds asif Donna Tartt's decision to narrate her long-awaited second novelmight not have been a good one; her complex writerly sentences demandnarrative expertise for her story to sound told rather than read. Butin the end, she won over this listener--not just with the charm andappropriateness of her Mississippi accent and intonation--but with thedeep affection she gives to a full spectrum of contemporary Southerncharacters: eccentric middle-class whites, steeped in family mythologyof times passed and still mourning the loss of gentility; theworking-class blacks whose lives are intertwined with them in complexeconomic and personal relationships; and dope-dealing, trailer-livingrednecks, as resentful and up to no good as any of Faulkner's poorwhite trash. Tartt narrates as if she's known these people all herlife. Her portrayal of Harriet--fierce, precocious, bookish and aslikable as Scout Finch--is especially apt. E.K.D. © AudioFile2002, Portland, Maine-- Copyright © AudioFile, Portland, Maine

Product details

ASIN ‏ : ‎ B005PRJJOQ
Publisher ‏ : ‎ Vintage; Reprint edition (October 19, 2011)
Publication date ‏ : ‎ October 19, 2011
Language ‏ : ‎ English
File size ‏ : ‎ 3000 KB
Text-to-Speech ‏ : ‎ Enabled
Screen Reader ‏ : ‎ Supported
Enhanced typesetting ‏ : ‎ Enabled
X-Ray ‏ : ‎ Enabled
Word Wise ‏ : ‎ Enabled
Sticky notes ‏ : ‎ On Kindle Scribe
Print length ‏ : ‎ 642 pages

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Donna Tartt is an American author who has achieved critical and public acclaim for her novels, which have been published in forty languages. Her first novel, The Secret History, was published in 1992. In 2003 she received the WH Smith Literary Award for her novel, The Little Friend, which was also nominated for the Orange Prize for Fiction. She won the Pulitzer Prize and the Andrew Carnegie Medal for Fiction for her most recent novel, The Goldfinch.

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Elise in Palm Springs

One of the Best Books I've Ever Read

Reviewed in the United States on November 8, 2013

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Had I paid any attention to the reviews at either Goodreads or Amazon, I might have been dissuaded from reading The Little Friend by those who didn't like the book, calling it "boring", "too long", "bad ending". That would have been a sad thing, because I'm putting it in that Difficult-to-Get-Into club of mine called "One of the Best Books I've Ever Read". It's very hard for me to see this as anything less than a 5-star book, so let me try to convince you readers who are contemplating reading it but are on the fence because of the book's detractors. However, let me temper that with a caution to those who want a quick read, a tied-up-in-a-bow ending, or who aren't willing to get deep into a character and the character's milieu---if you are one of those, go with a John Grisham. The paperback edition I read was a hefty 624-pages, and I savored every one of them.

The editor's description of The Little Friend (TLF) will lead you to believe that this is a murder mystery, and perhaps that's why some readers are ticked off that it lacks the typical and expected structure of a murder mystery. In fact, that's likely what enticed me to buy it. But while TLF does, indeed, begin with a mystery---the 12-year old, unsolved murder of the brother of the main character, Harriet. The mystery is also the impetus for the quest that is the book's focus. But the mystery is simply the background and jumping off place. This is really a story about Harriet, one of the most compelling characters I've ever encountered; the town where the story takes place (Alexandria, Mississippi); and the recently desegregated and deeply racist social climate in which the action occurs.

Harriet was a baby when her brother, Robin, is murdered. When we meet her 12 years later, she's like an urchin from a Dickens' story. If it were not for the inconsistent and eclectic parenting she receives from the family's African-American housekeeper, her stern and cold grandmother, and a gaggle of great-aunts, Harriet would be just a step away from being raised by wolves. Her mother has been in a drug-induced slumber since the day of the murder, and her father lives in Nashville and only visits on holidays.

Harriet is an old soul. She's intelligent, indomitable, opinionated, delightfully odd, and very well-read. The tales of Kipling, Stevenson, Doyle, and those of true-life adventurers fuel her imagination. A summer without the structure and diversion of school, and the general lack of parental supervision the children receive, provide a fertile ground in which Harriet and her devoted acolyte, Hely, set out to find Robin's killer. But, again, though it's an important one, this "detecting" is simply the backstory.

TLF's prologue is one of the best I've ever read. It begins: "For the rest of her life, Charlotte Cleve would blame herself for her son's death because she had decided to have the Mother's Day dinner at six in the evening instead of noon, which is when the Cleves usually had it." Its 15 pages concisely and brilliantly provide us with everything we need to know to prepare us for the rest of the story. We clearly understand the family dynamics and a bit of its history. We meet many of the characters and, in very few words, we learn a lot about each one of them. We know the horrific event that forever after alters the family and sets in motion its disintegration. But from that point forward, each subsequent chapter is minutely detailed. Many readers found that maddening, but others, like me, loved and appreciated those details. I found myself rereading passages to savor them, and noticing now beautifully crafted and essential all those lovely words were.

One of the things that I found the most amazing was how well Tartt captured the time and place: the casual and cruel racism, the decaying town, the cadence and sound of the voices across the spectrum of social classes; and the thinking of the children: their fertile imaginations, their terrible decisions, the pains they must endure at the hands of the careless and unthinking adults who rule their worlds. My early childhood was spent in a small Missouri town in the 1950s, and Tartt's descriptions brought back the sights, sounds, and feelings (both physical and emotional) of that time and place.

Other reviewers have compared TLF to To Kill a Mockingbird and The Heart is a Lonely Hunter. I was also making those comparisons. But to be clear, TLF by no means mimics those books---it holds its own and is unique in its voice, but it shares the keen sense of place and the uncanny understanding of the characters' interior lives that those other books have.

Many reviewers complained about the book's ending. I'm trying not to spoil it for readers by what I'm going to say next, so if you are even a tad concerned about that, stop reading this review now. The ending is not all tied up in a bow, with the author going over clues we should have picked up on, and detailing for us why the killer did what he/she did. If you are expecting such an ending, this book won't deliver. But I contend that Tartt wrote the perfect ending for this particular book. It's is purposefully and carefully written, and A Little Friend would be a completely different book with anything but the ending Tartt gives us. I believe that the Prologue and ending are a pair of perfectly matched bookends.

I loved this book and highly recommend it for people who want beautifully written prose and a whopping good story. I'm in awe of Donna Tartt's talent and insight into the human spirit, and immensely glad I found her. I'm reading Tartt's The Secret History next.

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Matthew Spady

A second novel that compares well with the first

Reviewed in the United States on December 2, 2002

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Two things right off the bat: 1) Once again (as with The Secret History) Ms. Tartt kept me reading her novel right to the end, even though 2) I have rarely come across a group of characters who are less sympathetic than those who people these pages.
Like The Secret History, The Little Friend begins with a death, though this time it is possible that the death was accidental not a murder. What follows are the parallel histories of two very dysfuntional families: one is the middle-class (with upper-middle pretentions) extended family of the dead child, the other, (whose lives wierdly intersect with the first's) is a lower-class bunch who live in a group of trailers and that includes felons, a grandmother who has been terminally ill for decades, and a would-be preacher who questions his calling because he proves to be inept as a snake-handler. Like The Secret History, there is a complete cast of fully-fleshed walk-ons.
Tartt tells The Secret History from one character's viewpoint, thus coloring all events and people with his perceptions of them. She narrates The Little Friend from multiple viewpoints, so that throughout -- and at the end -- the reader knows more about what is happening (and why) than any single character, though, in actuality, the reader is not always sure what he does and doesn't know. That in itself is not a problem; what is a problem is that the characters are not communicating with each other, even when they think they are. That makes for some very uncomfortable reading, in which the reader -- at least this one -- wants to shout at the page: "For God's sake, why aren't you all listening to each other?"
And then, if that weren't enough, we have Harriet, that dear, confused, pre-pubescent child who never seems able to say what she wants to say, and often says (or does) what she desn't want. Even allowing for her disfunctional mother (whose reaction to her sons death back on page one was to go to be for the next decade), her domineering Grandmother (whom she resembles in more than looks), her three aunts (really great-aunts, all of whom have more than a little of the post-bellum south about them: Slightly impoverished, but cultivated, none-the-less), her desperately-in-need-of-psychiatric-care sister, and her absentee father...even allowing for all of that, she is a very unlikeable child. Why can't she say what she really thinks to the long-suffering hired woman, Ida Rhew? Why must she be so horribly mean to the poor little LaSharon (one character who, though not particularly likeable, is at least admirable for trying to improve herself, even though she doesn't seem to have a clue how to do it). And, why on earth does she decide that Danny is the murderer, based on nothing by a chance remark?
Why? Because she's a mixed up little girl going through a difficult time in any girl's life and desperately in need of guidance and quite a bit of tender attention -- which she is not getting. In short, she is a very real character, as are most of the people who pass through these pages. That is Donna Tartt's gift, she sees life and she records it. She doesn't ask us to like it, she just hands it to us and lets us make of it what we will. An author who can do that must be very trusting of her readership.
As I wrote at the on-set, I finished the book, even though several times, I was ready to put it down in sheer frustration with what was happening on the pages, including once when I was 80% finished (page 421, to be exact). However, whether I wanted to see how it all turned out (which, ultimately, I didn't -- once again, Ms. Tartt proves to be a mysterious writer as well as a mystery writer), whether I wanted to see if I liked Harriet any more than I did (which I didn't), or whether I just wanted to finish what I had started (which I did), whatever the reason, I finished and, as with The Secret History, have pondered what I read for a couple of days now. (I also went back and re-read the prologue, which had an entirely different meaning after I had completed the book.)
One peculiarity, which other reviewers have noted: I couldn't figure out when this was supposed to be taking place. Edie drives a car from the late '50s which is twenty years old, but the writing on the water tower (Class of 1970) has worn off from years of weather. The TV references seem to be early 70s, but there is also a reference to the non-gay player being chosen for a ball team, which does not seem to be a phrase one would have heard from an elementary school child in small-town Mississippi in the early 70s. Although an editor could have and should have made some sense of those references, they were not sufficient to destroy the authenticity of the sense of (southern) place.
Once again, a provocative novel from Ms. Tartt. (But, please, could there be at least one likeable character next time?)

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Gavin

This book is basically poetry

Reviewed in the United Kingdom on March 30, 2024

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Exquisitely written, this tale keeps you gripped from the first chapter. The ending is a bit disappointing but it doesn't take anything away from this compelling read

Karine D.

A beautiful reflection on grief and the repercussions of a violent act

Reviewed in the Netherlands on January 18, 2023

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A beautiful reflection on grief and the repercussions of a violent act on two families that couldn't be more different from one another: The Cleves, a middle class and matriarchal close-knit group, and the dirt-poor meth-making Ratliffs.

Usually, I don't like children as main characters, but with Donna Tart as a writer, I was more than willing to make an exception and I'm glad I did because this is a masterpiece. Harriet's quest to avenge her brother is dark and menacing, riddled with guilt and failure and most of all loneliness. There is a stark contrast between her troubled mind and the carefree attitude of her best friend Hely, for whom childhood is as it should be, with caring parents. All the surrounding characters, from both families are very well crafted and multilayered; they all have their qualities, their vices and soft spots but my favorite was without a doubt Edie, capable and pragmatic but also cold and starting to feel her body and mind ageing.

The themes are dark and actual, ranging through all societal issues like racism, male chauvinism, unemployment, drug use and of course murder. On this note, don't get wrong footed by other reviews; this book is not about who killed little Robin, it is about all the aftershocks this one act provokes. In that way, it reminder me very often of Reservoir 13 .

If you are looking for opulent prose, a young but powerful heroin, with a splendid tapestry of characters on the hot and humid background of 1970's Mississippi, then look no further and dive into the melancholy and wonderful world of little Harriet Cleve Dufresne.

Cecile C

formidable roman en V.O.

Reviewed in France on November 24, 2019

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Après avoir lu avec enthousiasme les deux autres romans de Donna Tartt, celui-ci tient ses promesses !

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NP

Four Stars

Reviewed in India on September 8, 2017

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The whole point of Donna Tartt IS the beautiful but long story. That ending though!

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