Heralds a new voice with certain staying power.

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WHAT IT MEANS WHEN A MAN FALLS FROM THE SKY

Nigeria serves as a prism refracting the myriad experiences of both former and current inhabitants.

In two different stories in Arimah’s debut collection, characters have the supernatural ability to drain emotions from other people, for good or for ill. In “Who Will Greet You at Home,” a Nigerian woman participates in a tradition of making children out of inanimate materials and having them blessed by older women in hopes that they will become real. But these blessings come at a price—in her case, "Mama" blesses the child in exchange for the protagonist's own joy, “siphoned a bit, just a dab…a little bit of her life for her child’s life.” In the title story, figures known as Mathematicians are able to use precise algorithms and equations to relieve negative emotions from customers who can afford it. This power over feelings is as good a metaphor as any for storytelling. And Arimah has skill in abundance: the stories here are solid and impeccably crafted and strike at the heart of the most complicated of human relationships. Against a backdrop of grief for dead parents or angst over a lover, Arimah uses Nigeria as her muse. The characters exist in relation to a Nigeria of the past—the ghost of the Nigerian civil war, especially, looms over many of the stories—as well as present-day Nigeria, either as citizens or expats. Arimah even imagines a future Nigeria in which it has become the “Biafra-Britannia Alliance” in a massive geopolitical shift resulting from devastating climate change. This speculative turn joins everything from fabulism to folk tale as Arimah confidently tests out all the tools in her kit while also managing to create a wholly cohesive and original collection.

Heralds a new voice with certain staying power.

Pub Date: April 4, 2017

ISBN: 978-0-7352-1102-5

Page Count: 240

Publisher: Riverhead

Review Posted Online: Jan. 23, 2017

Kirkus Reviews Issue: Feb. 1, 2017

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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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Readers seeking a tale well told will take pleasure in King’s sometimes-scary, sometimes merely gloomy pages.

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THE BAZAAR OF BAD DREAMS

STORIES

A gathering of short stories by an ascended master of the form.

Best known for mega-bestselling horror yarns, King (Finders Keepers, 2015, etc.) has been writing short stories for a very long time, moving among genres and honing his craft. This gathering of 20 stories, about half previously published and half new, speaks to King’s considerable abilities as a writer of genre fiction who manages to expand and improve the genre as he works; certainly no one has invested ordinary reality and ordinary objects with as much creepiness as King, mostly things that move (cars, kid’s scooters, Ferris wheels). Some stories would not have been out of place in the pulp magazines of the 1940s and ’50s, with allowances for modern references (“Somewhere far off, a helicopter beats at the sky over the Gulf. The DEA looking for drug runners, the Judge supposes”). Pulpy though some stories are, the published pieces have noble pedigrees, having appeared in places such as Granta and The New Yorker. Many inhabit the same literary universe as Raymond Carver, whom King even name-checks in an extraordinarily clever tale of the multiple realities hidden in a simple Kindle device: “What else is there by Raymond Carver in the worlds of Ur? Is there one—or a dozen, or a thousand—where he quit smoking, lived to be 70, and wrote another half a dozen books?” Like Carver, King often populates his stories with blue-collar people who drink too much, worry about money, and mistrust everything and everyone: “Every time you see bright stuff, somebody turns on the rain machine. The bright stuff is never colorfast.” Best of all, lifting the curtain, King prefaces the stories with notes about how they came about (“This one had to be told, because I knew exactly what kind of language I wanted to use”). Those notes alone make this a must for aspiring writers.

Readers seeking a tale well told will take pleasure in King’s sometimes-scary, sometimes merely gloomy pages.

Pub Date: Nov. 3, 2015

ISBN: 978-1-5011-1167-9

Page Count: 512

Publisher: Scribner

Review Posted Online: Aug. 17, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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