Ironic, absurd, pedantic, graphic, tragic, beautiful, surprising, nuanced, polyphonic, exhausting, and unmistakably...
In his fourth collection, Boyko (Novelists, 2014, etc.) plumbs for absurdities in war, childhood, parenthood, politics, revolution, and campus demonstrations.
Boyko’s six-story collection is full of crisp prose, absurdist humor, delightfully atypical craft, and—when aggregated—pessimism: In every story the characters prove incapable of enacting positive change in their lives or societies. In the first (and least impressive) story, a childish high school teacher tries to “tear the [school’s] walls down” but instead becomes “every teacher he had ever hated.” In the brilliant and moving novella Andrew and Hillary, the title characters move through childhood and into war—Hillary as a doctor; Andrew, who “never grew up,” as a reckless ambulance driver and profiteer—where they fail to do what the very structure of the story seems to suggest: fulfill each other. In “Year-End,” discontented workers overthrow their factory’s management, break into factions, emulate their former tyrannical bosses, and end up worse off than they started. In “Birth Pangs,” a woman who has every reason not to have another child—her husband is a manipulative chauvinist; her previous pregnancy was downright brutal (here, as in Andrew and Hillary, Boyko demonstrates his mastery of the lengthy, gory medical scene); and her son is an unhealthy nightmare—has to decide what to do. In “Infantry,” two armies composed of women wage a bloody (and evidently pointless) conventional war, and the women behave just as history tells us male soldiers do: They curse, swear, drink and do drugs, visit whorehouses, are cruel to replacements, kill noncombatants, make terrible mistakes, feel fear, feel nostalgia, die beautifully, die horribly, and fight on. In “The Takeover of Founders’ Hall,” hundreds of students storm a university administration building and begin making wild and disparate demands: “Troy Rosswind wanted smaller classes…Sanders Brand wanted an end to world hunger…Langdon Bellhouse wanted all telemarketers killed.” Here, as in the previous stories, the revolutionary event accomplishes real change; but the changes are not the ones that any participant, on any side, desires.
Ironic, absurd, pedantic, graphic, tragic, beautiful, surprising, nuanced, polyphonic, exhausting, and unmistakably genius—Boyko’s latest has its flaws, but oh boy does it capture the cacophonic slide toward personal and societal incoherence.Pub Date: Sept. 11, 2018
ISBN: 978-1-77196-213-1
Page Count: 390
Publisher: Biblioasis
Review Posted Online: July 16, 2018
Kirkus Reviews Issue: Aug. 1, 2018
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and...
An amazingly intricate and ambitious first novel - ten years in the making - that puts an engrossing new spin on the traditional haunted-house tale.
Texts within texts, preceded by intriguing introductory material and followed by 150 pages of appendices and related "documents" and photographs, tell the story of a mysterious old house in a Virginia suburb inhabited by esteemed photographer-filmmaker Will Navidson, his companion Karen Green (an ex-fashion model), and their young children Daisy and Chad. The record of their experiences therein is preserved in Will's film The Davidson Record - which is the subject of an unpublished manuscript left behind by a (possibly insane) old man, Frank Zampano - which falls into the possession of Johnny Truant, a drifter who has survived an abusive childhood and the perverse possessiveness of his mad mother (who is institutionalized). As Johnny reads Zampano's manuscript, he adds his own (autobiographical) annotations to the scholarly ones that already adorn and clutter the text (a trick perhaps influenced by David Foster Wallace's Infinite Jest) - and begins experiencing panic attacks and episodes of disorientation that echo with ominous precision the content of Davidson's film (their house's interior proves, "impossibly," to be larger than its exterior; previously unnoticed doors and corridors extend inward inexplicably, and swallow up or traumatize all who dare to "explore" their recesses). Danielewski skillfully manipulates the reader's expectations and fears, employing ingeniously skewed typography, and throwing out hints that the house's apparent malevolence may be related to the history of the Jamestown colony, or to Davidson's Pulitzer Prize-winning photograph of a dying Vietnamese child stalked by a waiting vulture. Or, as "some critics [have suggested,] the house's mutations reflect the psychology of anyone who enters it."
The story's very ambiguity steadily feeds its mysteriousness and power, and Danielewski's mastery of postmodernist and cinema-derived rhetoric up the ante continuously, and stunningly. One of the most impressive excursions into the supernatural in many a year.Pub Date: March 6, 2000
ISBN: 0-375-70376-4
Page Count: 704
Publisher: Pantheon
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 2000
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
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