Like being regaled by an eccentric Joyce devotee: a reader feels both exhilarated and trapped.
McCourt brings back the eponymous movie star protagonist of Kaye Wayfaring (Avenged, 1984) and her opera diva mother-in-law (Mawdrew Czgowchwz, 1975) in a tour de force of language that will delight some while leaving others frustrated by the submerged characters, plot, and sheer difficulty of the read.
The seven linked pyrotechnic fictions—none with the shape or structure of a traditional story—are organized around three conceits: to stand as representations of the Seven Deadly Sins; to make parallels between Hollywood mythology and other—notably Irish—mythologies; and to record Wayfaring’s life from 1984, when she fails to get an Oscar nomination for Avenged, to the day about a decade later when she is expected to receive the award for a film based on her disturbed (and disturbing) mother’s life and suicide in Georgia. Along the way, she stars in a film shot in Ireland that has roles for her young twins and Czgowchwz; she’s a hit in the rock band her husband Tristan—years her junior—formed with his twin; she has memories of Norma Jean/Marilyn and is horrified by exploitation of the dead star; her son (also Tristan, also founder of a rock band) comes out, painfully, as gay, journeys cross-country and nearly dies of an overdose. The narrative emerges through gossip, letters, speechifying, speculating, pontificating, and storytelling, with jumps from one character to another, shifts in time and place, and dialogue often unattributed. McCourt has fun with specialized jargon—semiotics, Freud, anthropology, astrology, video games, and more—especially in unexpected contexts. Characters never stoop to plain speech. (“How much more satisfactory . . . is immersion in the study of long barrow, curses, avenue, and row—providing evidence of artificial horizons for crosswise viewing from both sides of a single mound—read bicoastal life—and lengthwise viewing directed over a contrescarpe burial chamber, extending cosmic symbolism into the realm of personal liturgy: read one’s career.”)
Like being regaled by an eccentric Joyce devotee: a reader feels both exhilarated and trapped.Pub Date: July 9, 2002
ISBN: 0-394-52362-8
Page Count: 336
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: May 1, 2002
A newcomer to watch: fresh, funny, and tough.
Seven stories, including a couple of prizewinners, from an exuberantly talented young Thai-American writer.
In the poignant title story, a young man accompanies his mother to Kok Lukmak, the last in the chain of Andaman Islands—where the two can behave like “farangs,” or foreigners, for once. It’s his last summer before college, her last before losing her eyesight. As he adjusts to his unsentimental mother’s acceptance of her fate, they make tentative steps toward the future. “Farangs,” included in Best New American Voices 2005 (p. 711), is about a flirtation between a Thai teenager who keeps a pet pig named Clint Eastwood and an American girl who wanders around in a bikini. His mother, who runs a motel after having been deserted by the boy’s American father, warns him about “bonking” one of the guests. “Draft Day” concerns a relieved but guilty young man whose father has bribed him out of the draft, and in “Don’t Let Me Die in This Place,” a bitter grandfather has moved from the States to Bangkok to live with his son, his Thai daughter-in-law, and two grandchildren. The grandfather’s grudging adjustment to the move and to his loss of autonomy (from a stroke) is accelerated by a visit to a carnival, where he urges the whole family into a game of bumper cars. The longest story, “Cockfighter,” is an astonishing coming-of-ager about feisty Ladda, 15, who watches as her father, once the best cockfighter in town, loses his status, money, and dignity to Little Jui, 16, a meth addict whose father is the local crime boss. Even Ladda is in danger, as Little Jui’s bodyguards try to abduct her. Her mother tells Ladda a family secret about her father’s failure of courage in fighting Big Jui to save his own sister’s honor. By the time Little Jui has had her father beaten and his ear cut off, Ladda has begun to realize how she must fend for herself.
A newcomer to watch: fresh, funny, and tough.Pub Date: Jan. 1, 2005
ISBN: 0-8021-1788-0
Page Count: 224
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2004
Old-fashioned short fiction: honest, probing and moving.
One of America’s great novelists (Lost Memory of Skin, 2011, etc.) also writes excellent stories, as his sixth collection reminds readers.
Don’t expect atmospheric mood poems or avant-garde stylistic games in these dozen tales. Banks is a traditionalist, interested in narrative and character development; his simple, flexible prose doesn’t call attention to itself as it serves those aims. The intricate, not necessarily permanent bonds of family are a central concern. The bleak, stoic “Former Marine” depicts an aging father driven to extremes because he’s too proud to admit to his adult sons that he can no longer take care of himself. In the heartbreaking title story, the death of a beloved dog signals the final rupture in a family already rent by divorce. Fraught marriages in all their variety are unsparingly scrutinized in “Christmas Party,” Big Dog” and “The Outer Banks." But as the collection moves along, interactions with strangers begin to occupy center stage. The protagonist of “The Invisible Parrot” transcends the anxieties of his hard-pressed life through an impromptu act of generosity to a junkie. A man waiting in an airport bar is the uneasy recipient of confidences about “Searching for Veronica” from a woman whose truthfulness and motives he begins to suspect, until he flees since “the only safe response is to quarantine yourself.” Lurking menace that erupts into violence features in many Banks novels, and here, it provides jarring climaxes to two otherwise solid stories, “Blue” and “The Green Door.” Yet Banks quietly conveys compassion for even the darkest of his characters. Many of them (like their author) are older, at a point in life where options narrow and the future is uncomfortably close at hand—which is why widowed Isabel’s fearless shucking of her confining past is so exhilarating in “SnowBirds,” albeit counterbalanced by her friend Jane’s bleak acceptance of her own limited prospects.
Old-fashioned short fiction: honest, probing and moving.Pub Date: Nov. 12, 2013
ISBN: 978-0-06-185765-2
Page Count: 304
Publisher: Ecco/HarperCollins
Review Posted Online: Aug. 31, 2013
Kirkus Reviews Issue: Sept. 15, 2013
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