HIGH LONESOME

STORIES

Thirteen vivid, scabrous, and noisy stories from the Mississippi romantic whose earlier volumes (Airships, 1978; Bats Out of Hell, 1993) contained most of the essentials, and even some of the particulars, of the more recent pieces gathered here. The characters in Hannah's rowdy tales are almost always the same: Eccentric misfits or disaffected intellectuals who are afflicted by love and lust the way Flannery O'Connor's people are obsessed with God and religion. Booze and regrets are key elements in this latest collection, which differs from Hannah's previous work only in its nagging emphasis on midlife crisis. Even in the slightest stories (e.g., ``The Ice Storm'' and ``Ned Maxy, He Watching You''), the sense of wasted opportunity and of a persistent longing for a better life are almost always preternaturally strong. We seem to be hearing, with minimal narrative variations, the ongoing confession of a single self- castigating protagonist. The best tales include ``Get Some Young,'' in which a moody Korean War vet and his moodier wife are transformed by their encounter with a handsome young boy; ``Carriba,'' about a former journalist who tries to bring peace to a family traumatized by mass murders; and the affecting ``Drummer Down,'' which portrays a would-be-writer who killed himself and vibrates thereafter in the memory of his more ``successful'' friend. Most memorable of all is ``Uncle High Lonesome,'' the first-person story of a boy who simultaneously idolizes and despises the title character, a romantic hunter and boorish racist. It takes off onto an exhilarating higher level with the narrator's revelation that his uncle once murdered a man, and that the murder and its attendant guilt has become a kind of inheritance passed down through the generations. When Hannah's stories are really about something—other than the omnipresent comic-depressive mood that has long dominated his fiction—they can get under your skin and haunt you. Only fitfully, however, are such sparks struck here. (Author tour)

Pub Date: Oct. 18, 1996

ISBN: 0-87113-668-6

Page Count: 240

Publisher: Atlantic Monthly

Review Posted Online: June 24, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Did you like this book?

No Comments Yet

THE THINGS THEY CARRIED

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

Did you like this book?

No Comments Yet

Old-fashioned short fiction: honest, probing and moving.

A PERMANENT MEMBER OF THE FAMILY

One of America’s great novelists (Lost Memory of Skin, 2011, etc.) also writes excellent stories, as his sixth collection reminds readers.

Don’t expect atmospheric mood poems or avant-garde stylistic games in these dozen tales. Banks is a traditionalist, interested in narrative and character development; his simple, flexible prose doesn’t call attention to itself as it serves those aims. The intricate, not necessarily permanent bonds of family are a central concern. The bleak, stoic “Former Marine” depicts an aging father driven to extremes because he’s too proud to admit to his adult sons that he can no longer take care of himself. In the heartbreaking title story, the death of a beloved dog signals the final rupture in a family already rent by divorce. Fraught marriages in all their variety are unsparingly scrutinized in “Christmas Party,” Big Dog” and “The Outer Banks." But as the collection moves along, interactions with strangers begin to occupy center stage. The protagonist of “The Invisible Parrot” transcends the anxieties of his hard-pressed life through an impromptu act of generosity to a junkie. A man waiting in an airport bar is the uneasy recipient of confidences about “Searching for Veronica” from a woman whose truthfulness and motives he begins to suspect, until he flees since “the only safe response is to quarantine yourself.” Lurking menace that erupts into violence features in many Banks novels, and here, it provides jarring climaxes to two otherwise solid stories, “Blue” and “The Green Door.” Yet Banks quietly conveys compassion for even the darkest of his characters. Many of them (like their author) are older, at a point in life where options narrow and the future is uncomfortably close at hand—which is why widowed Isabel’s fearless shucking of her confining past is so exhilarating in “SnowBirds,” albeit counterbalanced by her friend Jane’s bleak acceptance of her own limited prospects.

Old-fashioned short fiction: honest, probing and moving.

Pub Date: Nov. 12, 2013

ISBN: 978-0-06-185765-2

Page Count: 304

Publisher: Ecco/HarperCollins

Review Posted Online: Sept. 1, 2013

Kirkus Reviews Issue: Sept. 15, 2013

Did you like this book?

No Comments Yet
more