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
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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