A pleasure for fans of postmodern fiction.

THE COMPLETE GARY LUTZ

A writer’s writer gets his due in a welcome gathering of short fictions from three decades.

“If you are looking for story and plot, you have come to the wrong place.” So writes Brian Evenson in his foreword to this omnibus collection of stories by Lutz (Assisted Living, 2017, etc.), gathering five published volumes and a few unpublished pieces. Evenson is right: Not much happens inside a Lutz story save for some neatly written sentences with, more often than not, some strange non sequitur at their heart: “After lunch, in the undemanding dark of a movie theater where he goggled at some stabby, Roman-numeralled sequel, I would plug my ears and loot my own heart.” Most of Lutz’s stories seem more prose poems than traditional yarns with beginnings, middles, and ends. His characters tend to be divorced or on the way to divorce (“Then came nights when, lying awake beside my final wife, I would spend too much time putting my finger on what was wrong. I was wearing the finger out.”). Their time is invested in the ordinary—in the opening story, a man makes love without much conviction, anticipating the “accurate parting of the ways,” then goes to a diner, gets himself inky with a newspaper, and goes to a washroom with a door worthy of Kafka’s Castle. That story is called “Sororally,” which reflects Lutz’s liking of arcane words, glittering in his prose like emeralds in a streambed. Sometimes he lets out a quiet joke—“there are two types of people,” he writes, adding: “Just don’t ask me where they live"—and sometimes he invites a question without answering it, as with a fellow who has found a “new way to cheat on his wife” with no confirming details. Sometimes he accomplishes all this in just a couple of paragraphs, more often just a few pages, though the book is a sturdy volume that proves his aside, “A lot of toner has gone into all I have done."

A pleasure for fans of postmodern fiction.

Pub Date: Dec. 3, 2019

ISBN: 978-1-73353-591-5

Page Count: 499

Publisher: Tyrant Books

Review Posted Online: Sept. 15, 2019

Kirkus Reviews Issue: Oct. 1, 2019

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LAST ORDERS

Britisher Swift's sixth novel (Ever After, 1992 etc.) and fourth to appear here is a slow-to-start but then captivating tale of English working-class families in the four decades following WW II. When Jack Dodds dies suddenly of cancer after years of running a butcher shop in London, he leaves a strange request—namely, that his ashes be scattered off Margate pier into the sea. And who could better be suited to fulfill this wish than his three oldest drinking buddies—insurance man Ray, vegetable seller Lenny, and undertaker Vic, all of whom, like Jack himself, fought also as soldiers or sailors in the long-ago world war. Swift's narrative start, with its potential for the melodramatic, is developed instead with an economy, heart, and eye that release (through the characters' own voices, one after another) the story's humanity and depth instead of its schmaltz. The jokes may be weak and self- conscious when the three old friends meet at their local pub in the company of the urn holding Jack's ashes; but once the group gets on the road, in an expensive car driven by Jack's adoptive son, Vince, the story starts gradually to move forward, cohere, and deepen. The reader learns in time why it is that no wife comes along, why three marriages out of three broke apart, and why Vince always hated his stepfather Jack and still does—or so he thinks. There will be stories of innocent youth, suffering wives, early loves, lost daughters, secret affairs, and old antagonisms—including a fistfight over the dead on an English hilltop, and a strewing of Jack's ashes into roiling seawaves that will draw up feelings perhaps unexpectedly strong. Without affectation, Swift listens closely to the lives that are his subject and creates a songbook of voices part lyric, part epic, part working-class social realism—with, in all, the ring to it of the honest, human, and true.

Pub Date: April 5, 1996

ISBN: 0-679-41224-7

Page Count: 304

Publisher: Knopf

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Feb. 15, 1996

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Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

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THE VANISHING HALF

Inseparable identical twin sisters ditch home together, and then one decides to vanish.

The talented Bennett fuels her fiction with secrets—first in her lauded debut, The Mothers (2016), and now in the assured and magnetic story of the Vignes sisters, light-skinned women parked on opposite sides of the color line. Desiree, the “fidgety twin,” and Stella, “a smart, careful girl,” make their break from stultifying rural Mallard, Louisiana, becoming 16-year-old runaways in 1954 New Orleans. The novel opens 14 years later as Desiree, fleeing a violent marriage in D.C., returns home with a different relative: her 8-year-old daughter, Jude. The gossips are agog: “In Mallard, nobody married dark....Marrying a dark man and dragging his blueblack child all over town was one step too far.” Desiree's decision seals Jude’s misery in this “colorstruck” place and propels a new generation of flight: Jude escapes on a track scholarship to UCLA. Tending bar as a side job in Beverly Hills, she catches a glimpse of her mother’s doppelgänger. Stella, ensconced in White society, is shedding her fur coat. Jude, so Black that strangers routinely stare, is unrecognizable to her aunt. All this is expertly paced, unfurling before the book is half finished; a reader can guess what is coming. Bennett is deeply engaged in the unknowability of other people and the scourge of colorism. The scene in which Stella adopts her White persona is a tour de force of doubling and confusion. It calls up Toni Morrison’s The Bluest Eye, the book's 50-year-old antecedent. Bennett's novel plays with its characters' nagging feelings of being incomplete—for the twins without each other; for Jude’s boyfriend, Reese, who is trans and seeks surgery; for their friend Barry, who performs in drag as Bianca. Bennett keeps all these plot threads thrumming and her social commentary crisp. In the second half, Jude spars with her cousin Kennedy, Stella's daughter, a spoiled actress.

Kin “[find] each other’s lives inscrutable” in this rich, sharp story about the way identity is formed.

Pub Date: June 2, 2020

ISBN: 978-0-525-53629-1

Page Count: 352

Publisher: Riverhead

Review Posted Online: March 15, 2020

Kirkus Reviews Issue: April 1, 2020

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