Reviews

There’s a ringing prescience to the book’s philosophy that feels precisely contemporary. Curation is an obligation that’s crept up on us. Isolation and ceaseless data have made caretakers of us all, shut-in keepers of playlists and timelines, quarantined arrangers of meaningless objects. As such, The Caretaker acts as an analogue telling of our virtual predicament. 
—Cardiff Review

Arbus takes the narrative into a realm where hallucination, perhaps, a trace of the supernatural, just maybe, and obsession, undoubtedly, are the only keys to the riddle that she, no mean trickster, has conjured up. And it is made even more disorienting by Arbus’s distinctive voice, calm, wry, deadpan amid absurdity, and yet capable of lyricism at unexpected moments.
—The New Criterion

Taking cues from tales by Kafka and Robert Walser, Arbus pulls off an unnerving feat of contemporary postmodernism. A sly debut novel.
Publishers Weekly

Doon Arbus’s beautiful, moving, original novel does just what we want a novel to do: It creates a fictional world that reflects, illuminates and reveals the ‘real’ world we live in. This wryly funny, subversively philosophical book is brief—yet deep enough to contain humans and objects, love and death, memory and amnesia, oblivion and survival. It generates its own musical score: a phrase of Satie, a few notes of the Well-Tempered Clavier, and then the Beethoven sonata.
—Francine Prose

Doon Arbus’s debut novel is a kind of mystery—about who we become, what the absent leave us with, and why. Dense, visual, and true, this short book speaks volumes about the theater of the mind, and how the ensuing comedic drama we call life unfolds inside and outside our control. A marvelous new voice.
—Hilton Als

A spell-binding, intricate and haunting tale of a world-renowned philosopher’s house museum filled with his collection of objects, and the mysterious man who becomes the museum’s caretaker.
—Ulrich Baer, Think About It

For all its wit, The Caretaker is a quite unsettling study of obsession and madness that gradually creeps up on you and makes you complicit with the caretaker at the expense of his more bloodless antagonists because he at least has passion and the courage of his convictions. When I came to the end—which, like all perfect endings, is both surprising and inevitable—and was liberated from this closed, claustrophobic world, I wasn’t quite ready for it. The novel has a grip and once it lets you go, an imprint remains which leaves you with a slightly different gaze on the world around you.
—James Marsh (director of Man on Wire and The Theory of Everything)

No one writes like this anymore. Each sentence is perfect and inevitable, written in a voice—both intimate and formal—that soothes and seduces. The book itself is a ghost, a carrier of stories, a text that holds and gives and shimmers with the lives of Things. Their “charisma.” When I finished the last page, I felt as though every word had been written just for me. I suspect many readers will experience that same glorious, unshakable connection to what is truly a masterpiece.
—Christine Coulson, author of Metropolitan Stories: A Novel

Arbus’s writing is uniformly tight and focused, rendered with a light, amusing touch. The Jamesian quality of her prose extends to the book’s pleasantly gothic atmosphere, reminiscent of The Turn of the ScrewThe Caretaker is an enigmatic and necessary book.
—Ploughshares

The last page of this strange and beautiful meditation on time, loss, and the erosion of memory ends with “the exquisite neutrality of silence.” But Doon Arbus’ sentences…their magnitude, their precision, the cadence of their fall resonate in us for a long time and touch us the way we love to touch the things to which our soul is attached.
—Camille Laurens, Le Monde des Livres

The book opens and, one might say, the trap is set. We are captives, almost like Hansel and Gretel, lured on by this sweet treat of the winter literary season. To escape? Easier said than done….Shirley Jackson or Henry James come to mind…certainly due to the disquieting strangeness of the place, but also because from these pages a prose style emerges: gnarled sentences, images, similes. They unfurl here layer after layer “like someone dismembering an origami bird.’
—Thomas Stelandre, Libération

A devoted admirer of a famous collector becomes the obsessive caretaker of his collection after his death….The caretaker…guides the museum visitors on a dialectic journey, immersing them, and us along with them, in his dizzying obsession with things. Doon Arbus…captures here the essence of the eccentric…through the lens of a disturbingly sinuous tale, which is not without a hint of mischievous irony.
—Sean Rose, LH Le Magazine

In her first work of fiction…[Doon Arbus] recounts the story of a man without qualities who decides to devote his life to the implementation of an artist-collector’s last wishes….[Her] imagination is a true cabinet of curiosities. 
—Didier Jacob, L’Obs

Doon Arbus’s tale unfolds in an elegant, sometimes clever language that confounds time and creates an unsettling Gothic atmosphere….Throughout this fable, with disquieting humor, [she] invites us to ponder the often overrated weight of the past, the absurd importance accorded material things, and the dangers of overinterpretation. 
—Boris Senff, Le Tribune de Genève

In this cabinet of curiosities, a tragicomic drama unfolds in an increasingly ominous atmosphere. For the visitors and the reader alike, the tension grows. 
—Isabelle Spaak, Le Figaro Littéraire

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