Tales that are emotional and intellectual but almost always moving; a superb collection.

MOMENTARY ILLUMINATION OF OBJECTS IN MOTION

A debut volume of short stories captures small slices of characters’ lives.

Most of the tales in this collection focus on brief incidents, like an EMT, new on the job, watching police deal with a deer struck by his ambulance or a kid trying to run home after getting caught stealing beer. Arias makes a strong impression with his stories, many of which have been previously published in journals and magazines. The time elapsed in a tale might be less than an hour, but he expertly reveals something particular about his characters and hints at something universal. This is obvious from the first story, “Deer Don’t Scream, Do They?” The inexperienced EMT is standing by the side of the road with a couple of cops and the ambulance driver as a deer lies dying on the road. If the animal were a person, the EMT would be helping the injured party. But he can’t, and neither, apparently, can the rookie cop, who makes a mess of trying to put the deer down. In the end, no matter what they do, they all have to move on to the next moment, the next sufferer. Some of the tales are gritty like that one, while others are more esoteric, such as “The Case for Viable Life in Atlantis,” which sets out opening and closing arguments and exhibits to prove that people should be able to breathe underwater. The central metaphor here gets a bit cloudy. Arias’ work is much more striking when he grounds it in more visceral events, no matter how strange the subject matter. In “Closer,” a man who recently lost his wife to illness finds himself drawn to crowds and contact and doesn’t break down to properly mourn until he is rejected after an awkward bathroom encounter. In “Writing Code,” a nerdy kid tries to come out of his shell by hanging mistletoe from trees and overhead wires on the route his crush walks to school. The author sets up the story from a “his and hers” perspective, which not only gives readers a look inside both characters, but also provides a heartbreaking twist.

Tales that are emotional and intellectual but almost always moving; a superb collection.     

Pub Date: Sept. 30, 2018

ISBN: 978-0-9980116-5-3

Page Count: 132

Publisher: Black Bomb Books

Review Posted Online: Nov. 29, 2018

Kirkus Reviews Issue: Jan. 15, 2019

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ONE DAY IN THE LIFE OF IVAN DENISOVICH

While a few weeks ago it seemed as if Praeger would have a two month lead over Dutton in their presentation of this Soviet best seller, both the "authorized" edition (Dutton's) and the "unauthorized" (Praeger's) will appear almost simultaneously. There has been considerable advance attention on what appears to be as much of a publishing cause celebre here as the original appearance of the book in Russia. Without entering into the scrimmage, or dismissing it as a plague on both your houses, we will limit ourselves to a few facts. Royalties from the "unauthorized" edition will go to the International Rescue Committee; Dutton with their contracted edition is adhering to copyright conventions. The Praeger edition has two translators and one of them is the translator of Doctor Zhivago Dutton's translator, Ralph Parker, has been stigmatized by Praeger as "an apologist for the Soviet regime". To the untutored eye, the Dutton translation seems a little more literary, the Praeger perhaps closer to the rather primitive style of the original. The book itself is an account of one day in the three thousand six hundred and fifty three days of the sentence to be served by a carpenter, Ivan Denisovich Shukhov. (Solzhenitsyn was a political prisoner.) From the unrelenting cold without, to the conditions within, from the bathhouse to the latrine to the cells where survival for more than two weeks is impossible, this records the hopeless facts of existence as faced by thousands who went on "living like this, with your eyes on the ground". The Dutton edition has an excellent introduction providing an orientation on the political background to its appearance in Russia by Marvin Kalb. All involved in its publication (translators, introducers, etc.) claim for it great "artistic" values which we cannot share, although there is no question of its importance as a political and human document and as significant and tangible evidence of the de-Stalinization program.

Pub Date: June 15, 1963

ISBN: 0451228146

Page Count: 181

Publisher: Praeger

Review Posted Online: Oct. 5, 2011

Kirkus Reviews Issue: June 15, 1963

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Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the...

FLY AWAY

Hannah’s sequel to Firefly Lane (2008) demonstrates that those who ignore family history are often condemned to repeat it.

When we last left Kate and Tully, the best friends portrayed in Firefly Lane, the friendship was on rocky ground. Now Kate has died of cancer, and Tully, whose once-stellar TV talk show career is in free fall, is wracked with guilt over her failure to be there for Kate until her very last days. Kate’s death has cemented the distrust between her husband, Johnny, and daughter Marah, who expresses her grief by cutting herself and dropping out of college to hang out with goth poet Paxton. Told mostly in flashbacks by Tully, Johnny, Marah and Tully’s long-estranged mother, Dorothy, aka Cloud, the story piles up disasters like the derailment of a high-speed train. Increasingly addicted to prescription sedatives and alcohol, Tully crashes her car and now hovers near death, attended by Kate’s spirit, as the other characters gather to see what their shortsightedness has wrought. We learn that Tully had tried to parent Marah after her father no longer could. Her hard-drinking decline was triggered by Johnny’s anger at her for keeping Marah and Paxton’s liaison secret. Johnny realizes that he only exacerbated Marah’s depression by uprooting the family from their Seattle home. Unexpectedly, Cloud, who rebuffed Tully’s every attempt to reconcile, also appears at her daughter’s bedside. Sixty-nine years old and finally sober, Cloud details for the first time the abusive childhood, complete with commitments to mental hospitals and electroshock treatments, that led to her life as a junkie lowlife and punching bag for trailer-trash men. Although powerful, Cloud’s largely peripheral story deflects focus away from the main conflict, as if Hannah was loath to tackle the intractable thicket in which she mired her main characters.

Unrelenting gloom relieved only occasionally by wrenching trauma; somehow, though, Hannah’s storytelling chops keep the pages turning even as readers begin to resent being drawn into this masochistic morass.

Pub Date: April 23, 2013

ISBN: 978-0-312-57721-6

Page Count: 416

Publisher: St. Martin's

Review Posted Online: Feb. 18, 2013

Kirkus Reviews Issue: March 1, 2013

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