Audacious, rambling ... This author has always reveled in bridging genre and high-gloss literature; here he blends police procedural, the horror of Stephen King and the postmodern density of David Foster Wallace ... This is peak maximalist fiction: a mash-up of famous, forgotten and half-forgotten volumes, a library of an author’s mind. Some readers may find Tom’s Crossing ponderous and bloated, with too many forks in the trail. I advise patience and fortitude: Danielewski’s affection for his characters leads the big ideas much as Tom guides Kalin and Landry higher into the mountains. The narrative beckons us to settle in. Its excesses drive its risks.
A work of new mythology at its heart ... Danielewski, here, takes our own places, both mountains and mythos, and builds new worlds from it. It’s a tome of a book, arduous and impossibly thick in its characters and locations, that lives up to its intentions.
Retrograde, a hypertrophy of specificity in traditional narrative and realist style ... Reductive in its overelaborations of the conventional ... With its narrow setting, compressed chronological plot, and overload of minute detail, the novel is like a supermax prison where one must serve a long sentence with little variety and very limited contact with the world outside the walls of the story ... Because Danielewski’s sentences are microscopically referential, his narrative is relentlessly slow in pace. Although the action of the book occurs over only five days, Danielewski takes over 1,000 pages to tell the story ... Less enchanting than nostalgic and sentimental, a massive historical fantasy of wishful thinking ... I won’t call Tom’s Crossing a failure, just not a major work of maximalist fiction. The novel seems to me a stupendous waste of effort.
