An offbeat batch of short and flash fiction, generally concerned with domesticity but more notably obsessed with the sound and feel of language.
These experimental stories from McIlvoy (The Complete History of New Mexico, 2005, etc.) revel in their peculiar setups. A man buys a lawnmower from the poet Basho; a group of suburban men run through their neighborhood like werewolves, “a pack of men pulling a sleigh full of prostration”; vets go golfing in the snow; a narrator contemplates a person dressed as a Sprite can. Straightforward plots never follow from these premises, but McIlvoy is more interested in wordplay and observation than narrative. That can have some pleasurably jarring effects: one cycle of stories concerns a skateboarding-obsessed man named Teacher Reptile who writes epic fantasy novels and speaks in a patter that’s half King James Bible, half Thrasher magazine. (“Give unto me the great chain, that I may rule the pit without bottom, the session that hath not end of grind.”) McIlvoy can play up the humor and absurdity of language, as when he connects possessives like boxcars (“Inside their home’s heart’s sounds: the tub’s faucet’s dripping’s splashings…”) or upends the conventional aggression of the bank-robbery note. Even so, the overall mood is somber and contemplative, filled as the stories are with the likes of drowned people returning home, lonesome ghosts playing music in a bar bathroom, and hard-luck types aimlessly riding a bus in New Mexico. Most somber (and revealing) of all the stories is one teacher’s recollection of a student producing a grammatically clumsy but charming sentence. “I have needed, wanted your flooding truth to kill what I have been,” the narrator writes, echoing McIlvoy’s consistent urge to distrust telling the story straight and to let the provocative premise and odd delivery carry the day.
A challenging but fresh and inventive set of prose poems.