With his strange cast of drunks, murderers, and the drug-addled, McManus fits comfortably into a tradition of Gothic...
McManus shows a quirky originality in these nine stories as he focuses on the outré and bizarre doings of his off-center characters.
Along with creating a compelling cast, McManus shows himself a master of openings. “Elephant Sanctuary” begins with the following outlandish and compelling sentence: “The story of the creation of my elephant vampire songs begins on the December morning when I killed Aisling, heroine of our last album and my fiancée, in one Jaguar and fled Texas in another.” This sentence anticipates in miniature the unfolding of the rest of the tale as we learn that the con-man father of the songwriter narrator claims to have won an elephant sanctuary with a Dolly Parton (a nine-five combo) in Texas Hold 'em and the narrator has in fact murdered his fiancee. And these are not by any means the most oddball characters we meet in McManus’ stories. Another is Victor, in “Gainliness,” whose eccentricities include using needle-nosed pliers to pick his nose, swallowing toothpaste, and starting major journeys on his left foot. “The Ninety-Fifth Percentile” introduces a number of spoiled and privileged students at a Texas high school, all of whom have IQ scores in the 95th percentile. The story explores not only their sense of entitlement, but also their attitudes toward immigrants moving in on their territory (both geographical and intellectual), their commitment to fast cars and drugs du jour, and their explorations of both hetero- and homosexuality.
With his strange cast of drunks, murderers, and the drug-addled, McManus fits comfortably into a tradition of Gothic writing, adding his own—dare one say peculiar?—twists.Pub Date: Nov. 10, 2015
ISBN: 978-1-941411-10-0
Page Count: 240
Publisher: Sarabande
Review Posted Online: Aug. 15, 2015
Kirkus Reviews Issue: Sept. 1, 2015
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
Superb stylist L’Amour returns (End of the Drive, 1997, etc.), albeit posthumously, with ten stories never seen before in book form—and narrated in his usual hard-edged, close-cropped sentences, jutting up from under fierce blue skies. This is the first of four collections of L’Amour material expected from Bantam, edited by his daughter Angelique, featuring an eclectic mix of early historicals and adventure stories set in China, on the high seas, and in the boxing ring, all drawing from the author’s exploits as a carnival barker and from his mysterious and sundry travels. During this period, L’Amour was trying to break away from being a writer only of westerns. Also included is something of an update on Angelique’s progress with her father’s biography: i.e., a stunningly varied list of her father’s acquaintances from around the world whom she’d like to contact for her research. Meanwhile, in the title story here, a missionary’s daughter who crashes in northern Asia during the early years of the Sino-Japanese War is taken captive by a nomadic leader and kept as his wife for 15 years, until his death. When a plane lands, she must choose between taking her teenaged son back to civilization or leaving him alone with the nomads. In “By the Waters of San Tadeo,” set on the southern coast of Chile, Julie Marrat, whose father has just perished, is trapped in San Esteban, a gold field surrounded by impassable mountains, with only one inlet available for anyone’s escape. “Meeting at Falmouth,” a historical, takes place in January 1794 during a dreadful Atlantic storm: “Volleys of rain rattled along the cobblestones like a scattering of broken teeth.” In this a notorious American, unnamed until the last paragraph, helps Talleyrand flee to America. A master storyteller only whets the appetite for his next three volumes.
Pub Date: May 11, 1999
ISBN: 0-553-10963-4
Page Count: 288
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1999
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