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FALSE BINGO

Tense, well-imagined stories whose tendencies to unravel mirror the characters they chronicle.

Twenty short stories about people in the muted extremes of ordinary lives.

Jemc’s (The Grip of It, 2017, etc) stories revel in disquiet. Sometimes this uneasiness is the palpable result of external forces, as in “Don’t Let’s,” in which a woman seeking solitude in the aftermath of an assault may or may not be haunted by a boo hag. Sometimes they expand into gleeful expressions of the macabre, as in “Get Back,” an unrepentant litany of gruesome deaths narrated by the succubuslike murderer herself; or in “Strange Loop,” where the ex-con main character, John, “forget[s] the trembling urges he kept in check” through his total immersion in taxidermy. More often, however, the stories nudge up against confrontational situations that they then allow to dissipate. In “Manifest,” Bernadette’s seemingly plot-instigating encounter with a man with “movie-star good looks” in the plastic surgeon’s office is left behind as the story veers toward an exploration of her determined isolation. In the wonderfully eerie “Hunt and Catch,” the multiple perils that accompany Emily’s commute home from work—a stalking dump truck driver; an overly attentive good Samaritan; her own suddenly unreliable perceptions—are left outside her locked door as she attends to the “quiet dark[ness]” of her private life. In “Maulawiyah,” one of the longer and more conventionally structured stories in the collection, Raila is on a mindfulness retreat where her best intentions toward introspection are interrupted by the pitch-perfect Lisa, whose irritating narcissism Jemc chooses to neither elevate into malevolence nor excuse by way of empathetic backstory. Instead Raila and Lisa are allowed to linger in the singular moment of their relationship in a way that resonates for the reader more like a memory of their own discomfort than it does a story aiming toward a purposeful conclusion. Jemc’s insistence on her stories’ rights not to resolve their dilemmas is the thread that binds this book together, though too many similarly disaffected characters make the stories difficult to digest back to back. The result is a collection that will disappoint a reader looking for a tightly controlled narrative arc but delight one willing to learn how these particular stories want to be read.

Tense, well-imagined stories whose tendencies to unravel mirror the characters they chronicle.

Pub Date: Oct. 8, 2019

ISBN: 978-0-374-53835-4

Page Count: 240

Publisher: MCD/Farrar, Straus and Giroux

Review Posted Online: July 14, 2019

Kirkus Reviews Issue: Aug. 1, 2019

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ANIMAL FARM

A FAIRY STORY

A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.

Pub Date: Aug. 26, 1946

ISBN: 0452277507

Page Count: 114

Publisher: Harcourt, Brace

Review Posted Online: Nov. 2, 2011

Kirkus Reviews Issue: Aug. 1, 1946

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THE THINGS THEY CARRIED

It's being called a novel, but it is more a hybrid: short-stories/essays/confessions about the Vietnam War—the subject that O'Brien reasonably comes back to with every book. Some of these stories/memoirs are very good in their starkness and factualness: the title piece, about what a foot soldier actually has on him (weights included) at any given time, lends a palpability that makes the emotional freight (fear, horror, guilt) correspond superbly. Maybe the most moving piece here is "On The Rainy River," about a draftee's ambivalence about going, and how he decided to go: "I would go to war—I would kill and maybe die—because I was embarrassed not to." But so much else is so structurally coy that real effects are muted and disadvantaged: O'Brien is writing a book more about earnestness than about war, and the peekaboos of this isn't really me but of course it truly is serve no true purpose. They make this an annoyingly arty book, hiding more than not behind Hemingwayesque time-signatures and puerile repetitions about war (and memory and everything else, for that matter) being hell and heaven both. A disappointment.

Pub Date: March 28, 1990

ISBN: 0618706410

Page Count: 256

Publisher: Houghton Mifflin

Review Posted Online: Oct. 2, 2011

Kirkus Reviews Issue: Feb. 15, 1990

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