The author seems well-read, and he aspires to the highest literary standards, but some of these stories seem more...
A debut collection of eight stories that run the literary gamut, from seafaring parables to domestic realism, with the quality of the stories varying as well.
The opening, title story relates the adventures of “the first underwater vessel commissioned for combat by the Confederate State of America,” a Civil War submarine “that has failed—spectacularly—almost every meaningful test it has been given...the underwater equivalent of a bicycle strapped to a bomb with the intention of pedaling it four miles through hostile waters to engage an infinitely better equipped enemy….” “The Saint Anna” offers another unlikely seafaring tale about a ship ice-bound in the Arctic during the last gasps of czarist Russian rule, leaving those onboard split over whether to stay with the ship, where they’ve been trapped for a couple of years, or try to walk to wherever on the ice: “Each group is conscious of what abandonment means: they are leaving us to our death and we are letting them walk to theirs.” Like a Beckett fable of nothingness and bleak faith, the story suggests that “[t]here’s no explanation of what’s happening to us except that it’s happening.” The final story, “Dirwhals!,” replaces endless ice with endless sand, and unbearable cold with unbearable heat, in its diary of a man who has fled his family and abandoned his sister to serve on “a slow moving factory, an ungainly vessel that serves as both a hunting ship and a one-stop bio-processing plant,” as if Melville’s Ishmael has found himself sandlocked. Amid stories that inhabit parallel dimensions of history, in a geography of the imagination, many of the rest are contemporary family realism, often involving a boy of the same generation as the author undergoing some sort of rite of passage. In “Camp Winnesaka,” a battle between rival summer camps escalates into rockets and casualties, with a subtext that evokes Weapons of Mass Destruction. The longest story, “John, For Christmas,” is the most melodramatic, as a troubled adult son exposes the strains in his parents’ seemingly strong marriage.
The author seems well-read, and he aspires to the highest literary standards, but some of these stories seem more significant in their inspiration than their execution.Pub Date: May 7, 2013
ISBN: 978-0-06-220383-0
Page Count: 240
Publisher: Ecco/HarperCollins
Review Posted Online: March 2, 2013
Kirkus Reviews Issue: March 15, 2013
BOOK REVIEW
BOOK REVIEW
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.
Tremendous in scope—tremendous in depth of penetration—and as different a Steinbeck as the Steinbeck of Burning Bright was from the Steinbeck of The Grapes of Wrath.
Here is no saga of the underprivileged—no drama of social significance. Tenderness, which some felt was inherent in everything Steinbeck wrote, is muted almost to the vanishing point in this story of conflict within character, impact of character on character, of circumstances on personalities, of the difficult acceptance of individual choice as against the dominance of inherited traits. The philosophy is intimately interwoven with the pace of story, as he follows-from New England to California over some fifty odd years-the two families which hold stage center. There are the Trasks, brothers in two generations, strangely linked, strangely at war the one with the other; there are the Hamiltons (John Steinbeck's own forebears), a unique Irish born couple, the man an odd lovable sort of genius who never capitalizes on his ideas for himself, the tiny wife, tart, cold-and revealing now and again unexpected gentleness of spirit, the burgeoning family, as varied a tribe as could be found. And- on the periphery but integral to the deepening philosophy which motivates the story, there is the wise Chinese servant scholar and gentleman, who submerges his own goals to identify himself wholly with the needs of the desolate Adam Trask, crushed by his soulless wife's desertion, and the twin boys, Cal, violent, moody, basically strong enough to be himself—and Aron, gentle, unwilling to face disagreeable facts, beloved by all who met him. In counterpoint, the story follows too the murky career of Adam's wife, Cathy—who came to him from a mysteriously clouded past, and returned to a role for which she was suited—as a costly whore, and later as Madame in Salinas most corrupt "house," where the perversions of sex ridden males were catered to—and cruelty capitalized upon.Shock techniques applied with rapier and not bludgeon will rule the book out for the tender-skinned.
But John Steinbeck, the philosopher, dominates his material and brings it into sharply moral focus.Pub Date: Sept. 19, 1952
ISBN: 0142004235
Page Count: 616
Publisher: Viking
Review Posted Online: Oct. 5, 2011
Kirkus Reviews Issue: Sept. 1, 1952
BOOK TO SCREEN
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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