An exceptional collection.

FINDING AGAIN THE WORLD

A dozen stories from a fine Canadian writer that explore the discomforts and occasional delights life offers.

Three boys discover a kind of outdoor Sunday school with games and parables run by a couple. After they join in, one of the youths steals the man’s fountain pen and destroys it violently. An old man compels a boy to come to tea, belittles his intelligence, and tries to force him to feel a hole in his leg from a Boer War bullet. A man in a wheelchair politely listens to two missionaries and as they leave shouts: “If I was standing up…I’d be six foot three.” That story is remarkable for three pages of painstaking detail describing how the disabled man manages a bath. Metcalf (The Canadian Short Story, 2018, etc.) displays a masterful deployment of well-observed, pointed details. A man resting at an outdoor cafe from his tour of Rome spends two pages following the movements of three lizards, which echo the inevitable routines and rancor that arise with organized travel. Two of the better tales (“Ceazer Salad” and “The Museum at the End of the World”) appeared in a 2016 collection, The Museum at the End of the World. Another standout here is “The Estuary,” in which the troubled narrator shifts from a fitful talk therapy to a lyrical memory of seeing a pair of porpoises in Wales. In the comic, brittle “Gentle as Flowers Make the Stones,” a struggling poet works mentally on a few lines as he tries to get review work from an editor and anticipates being paid for a reading in a wealthy woman’s home. Harsh reality, hope, and caricature mingle in this tour de force. As Metcalf says in his previous book, “Writing is very hard work but at the same time it is delightful play.”

An exceptional collection.

Pub Date: March 19, 2019

ISBN: 978-1-77196-252-0

Page Count: 288

Publisher: Biblioasis

Review Posted Online: Dec. 23, 2018

Kirkus Reviews Issue: Jan. 15, 2019

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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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HOW THE GARCIA GIRLS LOST THEIR ACCENTS

Told through the points of view of the four Garcia sisters- Carla, Sandi, Yolanda and Sofia-this perceptive first novel by poet Alvarez tells of a wealthy family exiled from the Dominican Republic after a failed coup, and how the daughters come of age, weathering the cultural and class transitions from privileged Dominicans to New York Hispanic immigrants. Brought up under strict social mores, the move to the States provides the girls a welcome escape from the pampered, overbearingly protective society in which they were raised, although subjecting them to other types of discrimination. Each rises to the challenge in her own way, as do their parents, Mami (Laura) and Papi (Carlos). The novel unfolds back through time, a complete picture accruing gradually as a series of stories recounts various incidents, beginning with ``Antojos'' (roughly translated ``cravings''), about Yolanda's return to the island after an absence of five years. Against the advice of her relatives, who fear for the safety of a young woman traveling the countryside alone, Yolanda heads out in a borrowed car in pursuit of some guavas and returns with a renewed understanding of stringent class differences. ``The Kiss,'' one of Sofia's stories, tells how she, married against her father's wishes, tries to keep family ties open by visiting yearly on her father's birthday with her young son. And in ``Trespass,'' Carla finds herself the victim of ignorance and prejudice a year after the Garcias have arrived in America, culminating with a pervert trying to lure her into his car. In perhaps one of the most deft and magical stories, ``Still Lives,'' young Sandi has an extraordinary first art lesson and becomes the inspiration for a statue of the Virgin: ``Dona Charito took the lot of us native children in hand Saturday mornings nine to twelve to put Art into us like Jesus into the heathen.'' The tradition and safety of the Old World are just part of the tradeoff that comes with the freedom and choice in the New. Alvarez manages to bring to attention many of the issues-serious and light-that immigrant families face, portraying them with sensitivity and, at times, an enjoyable, mischievous sense.

Pub Date: May 1, 1991

ISBN: 0-945575-57-2

Page Count: 308

Publisher: Algonquin

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 15, 1991

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