None
McCarthy's work (Blood Meridian, 1985, etc.) is essentially about fatality: grotesque human acts that lack self-direction, that seem to be playing out a design otherwise established. In his more gothic early works, this fatality had a hanging-moss quality that seemed to brush your face invisibly but chillingly as you worked your way through his books. More recently, ever since McCarthy turned into a high-class cowboy novelist, the fatality is, understandably, more spread out—punctured by boredom and ennui and long, lonesome plains. Here, John Cole Grady is a 1930's East Texas teenager, abandoned by his parents' troubles, who sets out with his pal Rawlins to ride across the border to Mexico. Along the way, they pick up an urchin named Blevins and arrive finally at a hacienda, where they're hired to break horses. Grady falls in love with the owner's beautiful daughter—a disaster that leads in succession to arrest and Mexican jail and murder in self-defense. But this cliched plot is not, of course, what one reads a McCarthy novel for. McCarthy is one of the most determined art-prose writers around; and his clean, laconic dialogue is pillowed everywhere with huge gales of imperial style: "While inside the vaulting of the ribs between his knees the darkly meated heart pumped of who's will and the blood pulsed and the bowels shifted in their massive blue convolutions of who's will and the stout thighbones and knee and cannon and the tendons like flaxen hawsers that drew and flexed and drew and flexed at their articulations and of who's will all sheathed and muffled in the flesh and the hooves..."—and this is just half of the one sentence: no horse would ever move if it had to parse that out first. Like the late D.H. Lawrence at his worst and most pretentious, all blood-voodoo and animistic design, McCarthy makes an awfully unconvincing lot of a little here.
None NonePub Date: May 4, 1992
ISBN: 0-394-57474-5
Page Count: 320
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1992
IN THE NEWS
SEEN & HEARD
The late (d. 1988), leathery, awesomely unstoppable (over 100 books still in print) L’Amour, still producing fluently from his grave (End of the Drive, 1997), offers one more gathering of unpublished tales, proving again that great writing laughs at death. Showing sheer contempt for slow openings, L’Amour’s seven newly discovered short stories offer some breath-catching first paragraphs echoing with the cold steel click of a Colt .45 hammer being cocked. The lead story, “The Man from Utah,” polishes L’Amour’s walnut prose to its glossiest grain. Bearing a fearsome reputation as a gunfighter, Marshall Utah Blaine arrives in Squaw Creek to investigate 14 recent murders (three were marshals) by a cunning bandit masquerading as an upright citizen. By a process of deduction, the shrewd Blaine narrows his suspects down until he has the killer. “Here Ends the Trail” opens with a High L’Amouresque Miltonic Inversion: “Cold was the night and bitter the wind and brutal the trail behind. Hunched in the saddle, I growled at the dark and peered through the blinding rain. The agony of my wound was a white-hot flame from the bullet of Korry Gleason.” This builds to an explosive climax that mixes vengeance with great-heartedness. “Battle at Burnt Camp,” “Ironwood Station” and “The Man from the Dead Hills” all live up to the melodrama of their blue-steel titles. “Strawhouse Trail” opens memorably with the line: “He looked through his field glasses into the eyes of a dying man.” And never lets up. The title novella tells of Lona Markham’s unwilling engagement to six-foot-five, 250-pound, harsh-lipped Frank Mailer, who has “blue, slightly glassy eyes.” Will Lance Kilkenny, the mysterious Black Rider, save her from indestructible Mailer? Stinging stories of powerful men against landscapes you can strike a match on.
Pub Date: May 11, 1998
ISBN: 0-553-10833-6
Page Count: 260
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1998
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A fine celebration of the many guises a short story can take while still doing its essential work.
Latest installment of the long-running (since 1915, in fact) story anthology.
Helmed by a different editor each year (in 2018, it was Roxane Gay, and in 2017, Meg Wolitzer), the series now falls to fiction/memoir writer Doerr (All the Light We Cannot See, 2014, etc.) along with series editor Pitlor. A highlight is the opener, an assured work of post-apocalyptic fiction by young writer Nana Kwame Adjei-Brenyah that’s full of surprises for something in such a convention-governed genre: The apocalypse in question is rather vaguely environmental, and it makes Kazuo Ishiguro’s Never Let Me Go seem light and cheerful by contrast: “Jimmy was a shoelooker who cooked his head in a food zapper,” writes Adjei-Brenyah, each word carrying meaning in the mind of the 15-year-old narrator, who’s pretty clearly doomed. In Kathleen Alcott’s “Natural Light,” which follows, a young woman discovers a photograph of her mother in a “museum crowded with tourists.” Just what her mother is doing is something for the reader to wonder at, even as Alcott calmly goes on to reveal the fact that the mother is five years dead and the narrator lonely in the wake of a collapsed marriage, suggesting along the way that no one can ever really know another’s struggles; as the narrator’s father says of a secret enshrined in the image, “She never told you about that time in her life, and I believed that was her choice and her right.” In Nicole Krauss’ “Seeing Ershadi,” an Iranian movie actor means very different things to different dreamers, while Maria Reva’s lyrical “Letter of Apology” is a flawless distillation of life under totalitarianism that packs all the punch of a Kundera novel in the space of just a dozen-odd pages. If the collection has a theme, it might be mutual incomprehension, a theme ably worked by Weike Wang in her standout closing story, “Omakase,” centering on “one out of a billion or so Asian girl–white guy couples walking around on this earth.”
A fine celebration of the many guises a short story can take while still doing its essential work.Pub Date: Oct. 1, 2019
ISBN: 978-1-328-48424-6
Page Count: 320
Publisher: Houghton Mifflin Harcourt
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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