by Brian Evenson ‧ RELEASE DATE: June 11, 2019
Evenson’s little nightmares are deftly crafted, stylistically daring, and surprisingly emotional.
Twenty-two otherworldly short stories that are equal parts Poe, Lovecraft, King, and Twilight Zone.
Prolific author, translator, and professor Evenson (Critical Studies/CalArts; Raymond Carver’s What We Talk About When We Talk About Love, 2018, etc.) offers up a fistful of new nightmares culled from years of publications in literary magazines and horror anthologies that are well-poised to send chills up the most fearless of spines. Take the opener, “No Matter Which Way We Turned,” which begins, “No matter which way we turned the girl, she didn’t have a face.” There are certainly a few prominent themes here—anyone who puckers at the idea of a “skin suit” will certainly be horror-struck by the stories “Leaking Out,” “Sisters,” and the aptly titled “Shirts and Skins.” Movies also play a big role: We get a house haunted by a filmmaker on a budget in “Room Tone” and other behind-the-camera horror stories in “Line of Sight” and “Lather of Flies.” Although Evenson’s mimicry of gothic terrors from the past is first-rate, he also has a chameleonic ability to dart between eras and styles, as evidenced by the excellent “A Disappearance,” which evokes Gillian Flynn’s talent for misdirection, and “Lord of the Vats,” which echoes the existential angst found in writers like Cory Doctorow and Daniel Suarez. It seems that no matter where Evenson turns his attention, be it to something mundane like “Glasses” or a wetwork fragment like “The Cardiacs,” he conjures a remarkable sense of paranoia, anxiety, and dread. While terrors abound here, Evenson can occasionally summon some humor, too, as in the satire “Trigger Warnings”: “Caution: ghosts. Caution: flaming ghosts (as in ghost on fire, not flamboyantly gay ghosts). Caution: gay ghosts. Caution: spiders.”
Evenson’s little nightmares are deftly crafted, stylistically daring, and surprisingly emotional.Pub Date: June 11, 2019
ISBN: 978-1-56689-556-9
Page Count: 232
Publisher: Coffee House
Review Posted Online: March 17, 2019
Kirkus Reviews Issue: April 1, 2019
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by Donna Tartt ‧ RELEASE DATE: Sept. 16, 1992
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
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SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
by John Steinbeck ‧ RELEASE DATE: Feb. 26, 1936
Steinbeck is a genius and an original.
Steinbeck refuses to allow himself to be pigeonholed.
This is as completely different from Tortilla Flat and In Dubious Battle as they are from each other. Only in his complete understanding of the proletarian mentality does he sustain a connecting link though this is assuredly not a "proletarian novel." It is oddly absorbing this picture of the strange friendship between the strong man and the giant with the mind of a not-quite-bright child. Driven from job to job by the failure of the giant child to fit into the social pattern, they finally find in a ranch what they feel their chance to achieve a homely dream they have built. But once again, society defeats them. There's a simplicity, a directness, a poignancy in the story that gives it a singular power, difficult to define. Steinbeck is a genius and an original.Pub Date: Feb. 26, 1936
ISBN: 0140177396
Page Count: 83
Publisher: Covici, Friede
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Feb. 1, 1936
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by John Steinbeck & edited by Thomas E. Barden
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by John Steinbeck & edited by Robert DeMott
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by John Steinbeck & edited by Susan Shillinglaw & Jackson J. Benson
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