Chau is a distinctive voice, and if the stories are good, the sentences are even better.
Brilliant and strange, Chau’s arresting short stories delve into the emotional and sexual lives of second-generation Chinese-American women.
In the first of the 16 stories making up Chau’s debut collection, grand-prize winner of the Santa Fe Writers Project’s inaugural 2040 books contest, an unnamed woman hooks up with an old acquaintance—“the closest thing to a Chinese guy I had sex with, and that wasn’t saying much”—and finds, post-coitally, she has been split in two. “We will both be you,” she explains to herself. “You know you have problems with the Chinese you. I will just be the Chinese you for you.” Like many of the stories here, it’s a premise that shouldn’t work (isn’t it a little heavy-handed?), but in Chau’s hands, it’s electric: Her writing is almost alarming in its clarity, crisp and unselfconscious. Other stories are firmly rooted in reality. “I See My Eye in Your Eye” traces the paths of two sisters as they diverge in early adulthood. The older one is getting married, having a baby, building “a legitimate life.” Our narrator is not. It puzzles her, how this happened. “Somebody Else in the Room” is a hauntingly lonely story about the dissolution of a relationship in all its phases: the beginning and the middle and the end and all the phases after the end, when she is alone with his ghost. The women in Chau’s stories are sharp and self-contained and unmoored, caught in moments of transition, going or coming from someplace else. The same elements configure and reconfigure, and while the details of their lives don’t match up, they are versions of each other, all of them wishing they were someone else.
Chau is a distinctive voice, and if the stories are good, the sentences are even better.Pub Date: Sept. 1, 2018
ISBN: 978-1-939650-87-0
Page Count: 166
Publisher: 2040 Books
Review Posted Online: July 30, 2018
Kirkus Reviews Issue: Aug. 15, 2018
Old-fashioned short fiction: honest, probing and moving.
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: Aug. 31, 2013
Kirkus Reviews Issue: Sept. 15, 2013
Superb stylist L’Amour returns (End of the Drive, 1997, etc.), albeit posthumously, with ten stories never seen before in book form—and narrated in his usual hard-edged, close-cropped sentences, jutting up from under fierce blue skies. This is the first of four collections of L’Amour material expected from Bantam, edited by his daughter Angelique, featuring an eclectic mix of early historicals and adventure stories set in China, on the high seas, and in the boxing ring, all drawing from the author’s exploits as a carnival barker and from his mysterious and sundry travels. During this period, L’Amour was trying to break away from being a writer only of westerns. Also included is something of an update on Angelique’s progress with her father’s biography: i.e., a stunningly varied list of her father’s acquaintances from around the world whom she’d like to contact for her research. Meanwhile, in the title story here, a missionary’s daughter who crashes in northern Asia during the early years of the Sino-Japanese War is taken captive by a nomadic leader and kept as his wife for 15 years, until his death. When a plane lands, she must choose between taking her teenaged son back to civilization or leaving him alone with the nomads. In “By the Waters of San Tadeo,” set on the southern coast of Chile, Julie Marrat, whose father has just perished, is trapped in San Esteban, a gold field surrounded by impassable mountains, with only one inlet available for anyone’s escape. “Meeting at Falmouth,” a historical, takes place in January 1794 during a dreadful Atlantic storm: “Volleys of rain rattled along the cobblestones like a scattering of broken teeth.” In this a notorious American, unnamed until the last paragraph, helps Talleyrand flee to America. A master storyteller only whets the appetite for his next three volumes.
Pub Date: May 11, 1999
ISBN: 0-553-10963-4
Page Count: 288
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1999
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