These 27 Mexican short stories explore deep currents of emotion in polished writing and inventive storytelling. With the exceptions of Carlos Fuentes, Elena Poniatowska, and Paco Ignacio Taibo, the authors will probably be unfamiliar to American readers. Corona publisher Bowen and Mexican magazine editor Ascencio intersperse psychological studies with political tales, and most of the stories set the personal in the larger context of Mexico's simmering stew of races, classes, and regions. In ``The Dice Box'' by Emilio Carballido, a poor man uses daring and intelligence to turn his desperate plan to raise cash into a successful trick on a rich politician. Carlos Fuentes is at home with the complex inner life of an elderly aristocrat in ``The Mandarin,'' which depicts a cosmopolitan (in his youth he was photographed with Cole Porter) and aesthete (in his house there is an entirely white bedroom) who has spent his life loving one woman from afar. As the protagonist rages against the moral and ecological pollution of Mexico City, his eccentricities attract the living symbols of his loathing, with violent results. Severino Salazar writes an especially moving tale in ``Jesus, May Thy Joy Be Everlasting,'' which vividly describes a young couple absorbed in their love, the magic the woman, a singer/dancer, creates for her audience—and the melodramatic end of their innocence. Sergio Pitol's ``The Panther'' tells the oblique story of two dreams, separated by 20 years, that offer ephemeral insight into unspoken mysteries. In the beautiful ``Little Mister Chair-man'' by David Martin del Campo, a disabled boy offers his unique view of the world as seen from his wheelchair. Biting political commentary marks Eraclio Zepeda's ``The Truth,'' about the stringent price one man pays for his integrity in the face of unreasoning oppression. In ``Winter Will Never End'' by Marco Antonio Campos, a journalist finds courage when he refuses to stop reporting on political torture despite the especially subtle punishment that awaits him. A leisurely exploration of contemporary Mexico's luxuriant writing.

Pub Date: Oct. 6, 1994

ISBN: 0-931722-99-3

Page Count: 240

Publisher: N/A

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Aug. 1, 1994

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While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...


Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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