Fifteen-year-old Vernon Little, a panty-obsessed, beer-guzzling antisocial, is caught in a serious predicament — his close friend, Jesus, having just shot and killed 16 of his classmates before turning the gun on himself. Starving for answers, the small town of Martirio, Texas (home of the Bar-B-Chew Barn) turns into a media witchhunt overnight, accusing young Vernon of the atrocious crimes.
This is where the novel starts off, after the manslaughter, with the shell-shocked Vernon in custody left wondering “what kind of f—in’ life is this” as desolate Martirio becomes America’s media focal point. At home awaits his overweight depressant of a mother and her equally obese cohorts, gossiping incessantly over hip diets and appliance trends, ignoring the misunderstood Vernon. Without solace, Vernon plans a number of unsuccessful attempts to escape, winding further into self and societal awareness.
Though a bleak setting, Pierre’s unrelenting wit allows this novel to bloom warmly. Pierre has a keen sense of characterization, beautifully painting his profanity-drenched protagonist with the expressional intricacies of a true artist, sucking the reader into Vernon’s mindset, forcing sympathetic responses to his ridiculous attempts at gratification.
From impromptu telephone calls to the love of his life (a collegiate beauty he has only spoken with once) to trading CDs for booze in a night of pure drunkenness with a Mexican trucker, Pierre moves Vernon ceaselessly from one hilarious scenario to the next.
This comedy is not one-dimensional, however. Although dry humor drips from most scenes, the approach to the subject matter is nothing short of sincere, saving the novel from being marked by a cynical satire. Additionally, there’s patience in the progression of Vernon’s thoughts, as he treks through what happened and attempts to twist his fate, realizing “dreams are so damn perfect, but reality just always tugs the other way.”
Pierre’s ability to not embellish in any particular scene is an asset to his brilliance as a writer. This holding back keeps the narrative’s momentum. Like any worthwhile novel, the writing keeps the reader edgy and on the defensive. Situations are set up with a tone of tranquility and some breathing room for the reader. Within a sentence or two, this comfort morphs into neurotic hysteria with Pierre grinning back with an “I told you so” smirk as Vernon’s journey accumulates complexity.
Narrative accomplishments aside, this debut offers a chilling vision of America. In the midst of society coping with a heinous act, Vernon becomes a sacrificial lamb, something the public can pin down. The irony of the situation comes into play through Vernon’s depiction in the media. Maneuvering factual evidence, the media skews Vernon into a malicious beast, dragging the unquestioning public along for the ride, coaxing them on the bandwagon. Self preservation and a lack of emotional connectedness constitute Pierre’s America, an America rashly running on the hamster wheel of commercialistic debauchery.
Pierre offers a fresh voice in modern fiction, achieving excellence on narrative, stylistic and thematic levels. “Vernon God Little” is an instant classic and a brave approach to a taboo topic. Equally engaging, funny and moving, Pierre’s work creates memorable characters and situations in a masterful effort.
Grade: A