Brief, macabre stories that twist our obsessions with animals and our own thoughts. Like Poe for the new millennium.
The borders between the animal, human, and spirit worlds are constantly breached in these creepy magical realist tales of grief and obsession.
Dávila’s 12 short stories begin with “Moses and Gaspar,” about Señor Kraus, who returns to his dead brother’s apartment to collect the dogs he left behind. Moses and Gaspar become a complicated “inheritance from [his] unforgettable brother.” Many creatures are more human than animal in Dávila’s work, and the dogs' “screams” disturb Kraus’ neighbors, while Kraus becomes increasingly animalistic. The dogs' grief comes to wreck his life. Similar connections to the animal world are found in other stories; “The Houseguest” features a jealous wife and an unnamed visitor her husband brings home: “His nourishment was limited entirely to meat; he wouldn’t touch anything else.” He hovers over the sleeping members of the house, watching them, until eventually the wife is driven mad. In “Oscar,” a family lives to serve a dictatorial creature who controls all who enter the house from his place in the cellar: “He was the first to eat and allowed no one to taste their food before him. He knew everything, saw everything. He shook the iron door of the cellar with fury, and shouted when something displeased him. At night he indicated, with sounds and signs of objection, when he wanted them to go to bed, and often when he wanted them to get up. He ate large amounts, voraciously, and without enjoyment…grotesquely.” Dávila’s animals are humanized—familiar to anyone who has lived with a cat or a dog—but their holds on the humans of her stories are tyrannical. Other tales deal with the power of the imagination to create real fear: “Fragment of a Diary” is a series of meditations on degrees of pain by a character who wishes to develop tolerance as an art. In “End of a Struggle,” Durán witnesses himself walking by with a former lover, then follows to see his other life.
Brief, macabre stories that twist our obsessions with animals and our own thoughts. Like Poe for the new millennium.Pub Date: Nov. 27, 2018
ISBN: 978-0-8112-2821-3
Page Count: 144
Publisher: New Directions
Review Posted Online: Sept. 1, 2018
Kirkus Reviews Issue: Sept. 15, 2018
It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.
Pub Date: March 28, 1990
ISBN: 0618706410
Page Count: 256
Publisher: Houghton Mifflin
Review Posted Online: Oct. 2, 2011
Kirkus Reviews Issue: Feb. 15, 1990
SEEN & HEARD
IN THE NEWS
A newcomer to watch: fresh, funny, and tough.
Seven stories, including a couple of prizewinners, from an exuberantly talented young Thai-American writer.
In the poignant title story, a young man accompanies his mother to Kok Lukmak, the last in the chain of Andaman Islands—where the two can behave like “farangs,” or foreigners, for once. It’s his last summer before college, her last before losing her eyesight. As he adjusts to his unsentimental mother’s acceptance of her fate, they make tentative steps toward the future. “Farangs,” included in Best New American Voices 2005 (p. 711), is about a flirtation between a Thai teenager who keeps a pet pig named Clint Eastwood and an American girl who wanders around in a bikini. His mother, who runs a motel after having been deserted by the boy’s American father, warns him about “bonking” one of the guests. “Draft Day” concerns a relieved but guilty young man whose father has bribed him out of the draft, and in “Don’t Let Me Die in This Place,” a bitter grandfather has moved from the States to Bangkok to live with his son, his Thai daughter-in-law, and two grandchildren. The grandfather’s grudging adjustment to the move and to his loss of autonomy (from a stroke) is accelerated by a visit to a carnival, where he urges the whole family into a game of bumper cars. The longest story, “Cockfighter,” is an astonishing coming-of-ager about feisty Ladda, 15, who watches as her father, once the best cockfighter in town, loses his status, money, and dignity to Little Jui, 16, a meth addict whose father is the local crime boss. Even Ladda is in danger, as Little Jui’s bodyguards try to abduct her. Her mother tells Ladda a family secret about her father’s failure of courage in fighting Big Jui to save his own sister’s honor. By the time Little Jui has had her father beaten and his ear cut off, Ladda has begun to realize how she must fend for herself.
A newcomer to watch: fresh, funny, and tough.Pub Date: Jan. 1, 2005
ISBN: 0-8021-1788-0
Page Count: 224
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2004
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