A collection of playful stories that often have a dark undercurrent. Far out, man.

SORRY PLEASE THANK YOU

STORIES

Science fiction goes postmodern in this story collection from Yu (How to Live Safely in a Science Fictional Universe, 2010, etc.).

Using various narrative strategies (though all but one of these 13 stories is written in the first person), Yu explores provisional identities (including those of a character named Charles Yu) in multiple universes, typically employing a conversational style that makes for easy reading even when the themes are troubling or the formalistic elements challenging. In one story, “Note to Self,” a writer begins writing “Dear Alternate Self,” before the response he receives suggests that his alternate self may simply be another dimension of himself, and then, later, that the person to whom he’s actually writing is the reader: “We are correspondents corresponding in our corresponding universes. Is that what writing is? A collaboration between selves across the multiverse?” Where some stories just seem like gamesmanship, literary parlor tricks, one of the shorter and best ones, “Open,” strikes an existential chord in its meditation on words and what they signify, in its epiphany that “It was like we were actors in a play with no audience.” A couple stories offer heroic epics for the video game generation, while the longest, “Human For Beginners,” begins as a chapter in a self-help book on dynamics within extended families, proceeds into an inquiry on the identity of Charles Yu, and culminates in unanswerable questions such as “What is possible? What is conceivable? Do all worlds have rules? Do dreams?”

A collection of playful stories that often have a dark undercurrent. Far out, man.

Pub Date: July 24, 2012

ISBN: 978-0-307-90717-2

Page Count: 240

Publisher: Pantheon

Review Posted Online: June 17, 2012

Kirkus Reviews Issue: July 1, 2012

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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

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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

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