These brilliant stories invoke the desire for something other than what you've been given, which applies to us as much as to...
A vivid mix of stories that pick up and expand on Eisenberg's (The Collected Stories of Deborah Eisenberg, 2010, etc.) signature concerns.
Eisenberg is among our most interesting writers of short fiction, author of four previous collections that track the dislocation of her characters in ways both large and small. Of the six pieces in this, her first book in 12 years, five appeared in venues such as the Paris Review and the New York Review of Books; one garnered an O. Henry Award. It’s not hard to understand why. Eisenberg’s métier is reticence: Her characters move through a world they find bewildering, with no easy strategy to reach out and connect. In the title story, an artist finds herself at the beach home of a rich couple, in a country that could be Mexico. What looks like paradise, however, is an illusion, a landscape on the verge of chaos from overlapping cycles of drought and flooding and the excesses of the expatriate economy. “So naturally,” Eisenberg writes, “local people who could leave were leaving, and a lot of the foreigners…who had places in the area were pulling up stakes, too.” Place, in other words, exerts a very shallow pull. The same is true of family, which echoes here like a set of lost opportunities, more obligatory than consoling. “Merge” revolves, in part, around the son of a corrupt CEO who liberates himself from his father by forging a $10,000 check. “Cross Off and Move On” looks back at its narrator’s three aunts, although, she acknowledges, “They come to mind not so often. They come to mind only as often as does my mother, whose rancor toward them, my father’s sisters, imbued them with a certain luster and has linked them to her permanently.” Here, we see Eisenberg’s approach to narrative, which is to tell us something both incidental and important and then follow it where it goes. The stories here are long, most more than 30 pages, and they take their time in getting to the point. But that’s OK; in fact, it’s the whole pleasure of reading her, the assurance that there is no quick fix, no easy resolution, that things are as muddy, as complicated on the page as they are in the world. What is never muddy, though, is her writing, which is sharp and pointed and direct. “In our small city,” she writes, “where darkness and cold go on and on and most things smell and taste like lint, I groan with longing.”
These brilliant stories invoke the desire for something other than what you've been given, which applies to us as much as to Eisenberg's characters, whose distracted desperation can’t help, in the end, but reflect our own.Pub Date: Sept. 25, 2018
ISBN: 978-0-06-268877-4
Page Count: 240
Publisher: Ecco/HarperCollins
Review Posted Online: July 1, 2018
Kirkus Reviews Issue: July 15, 2018
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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