Rueful and kind, akin to both Anton Chekhov and Raymond Carver in humane spirit and technical mastery.
The much-anthologized Poissant justifies his status as a favorite of the literary quarterlies with this debut collection of unsparing yet warmly empathetic stories.
It’s no small feat to elicit understanding for a man who throws his teenage son through a window when he finds out the boy is gay, but Dan Lawson’s first-person narration in “Lizard Man” makes his grief and regret so palpable that we hope his decision to seek reconciliation at the story’s end will be followed through. It’s characteristic of Poissant’s sure hand that Dan reaches this decision via a visit to the house of a friend’s recently deceased father, which culminates with the release of an enormous alligator into a golf club pond: The bizarre circumstances give rise to a moving revelation of forgiveness delayed too long. Mistakes that can never be amended also torment the protagonists of “Me and James Dean,” “Nudists” and “The Disappearing Boy,” though in each case, Poissant holds out hope that the simple human ability to move on can at least partially heal many wounds. That hope is most touchingly, albeit tentatively expressed in “The Geometry of Despair,” a two-part tale of a couple painfully at odds after their infant daughter’s crib death. But it would be misleading to suggest that Poissant’s work is consistently affirmative; “The Amputee,” “The End of Aaron” and “How to Help Your Husband Die” are overwhelmingly sad, the more so because their characters are drawn with such tenderness. Two short, overstylized pieces, “Knockout” and “The Baby Glows,” are the author’s only missteps, but perhaps they were warm-ups for the delicate balance between allegory and realism achieved in “What the Wolf Wants.” The collection closes with the title story, which follows Dan on a frantic cross-country drive to see his son, dying of AIDS in California. Once again, Poissant declines to reassure but finds beauty in our imperfect strivings toward love and connection.
Rueful and kind, akin to both Anton Chekhov and Raymond Carver in humane spirit and technical mastery.Pub Date: March 11, 2014
ISBN: 978-1-4767-2996-1
Page Count: 256
Publisher: Simon & Schuster
Review Posted Online: Dec. 18, 2013
Kirkus Reviews Issue: Jan. 1, 2014
BOOK REVIEW
PROFILES
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
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
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