Barton is generous and sympathetic toward his characters, no matter how much of a handful they are. A pleasing collection,...
Literate, deftly constructed stories of backwoods Alabama.
It wouldn’t be Southern fiction without a nod to Faulkner, and Barton gets a hint in early: He sets a hayrick on fire, synecdoche for a barn, and lets the smoke linger in the swampy air. Then there’s the land, always a central character in southerly writing: pastures, dark soil, brooding forest, river—the Tennahpush, in this case, as real and as not-real as Yoknapatawpha County. But Barton’s quiet homage and adherence to convention are just that; he’s an original. The opening story finds a folk artist on the point of giving it all up even as the young woman who helps out around the place looks hard at a dreary future. “You haven’t made anything new in a good while, Mr. Hutchins,” she says, yearning for something different from insulin shots, pill bottles and shot glasses. The art that she likes, she declares, involves things that will take a person away from all this; in a nice bit of symmetry, the closing words of the collection also point to the desire to leave a place that holds people fast. Barton’s best moments join human generations to that land in different times: Here a slave, hauntingly speaking of plantation violence, suddenly sees the possibility of an escape seemingly not available to most mortals, and there a modern countryman grapples not just with “crackheads and meth freaks” and other denizens of the bottomlands, but also the possibility of flying saucers. Barton is not a funny writer as such, but there is some sly humor at play, too, as when that flying saucer fellow allows that his daughter might just be a lesbian. “Lois says I make it sound like Margaret’s a monster when I say that. Like I might as well go around telling people that she turned into a werewolf, when I’m really the one who turned into a monster, according to Lois.”
Barton is generous and sympathetic toward his characters, no matter how much of a handful they are. A pleasing collection, humane and well-written.Pub Date: March 17, 2015
ISBN: 978-1-938235-09-2
Page Count: 216
Publisher: Hub City Press
Review Posted Online: Jan. 7, 2015
Kirkus Reviews Issue: Jan. 15, 2015
A newcomer to watch: fresh, funny, and tough.
Seven stories, including a couple of prizewinners, from an exuberantly talented young Thai-American writer.
In the poignant title story, a young man accompanies his mother to Kok Lukmak, the last in the chain of Andaman Islands—where the two can behave like “farangs,” or foreigners, for once. It’s his last summer before college, her last before losing her eyesight. As he adjusts to his unsentimental mother’s acceptance of her fate, they make tentative steps toward the future. “Farangs,” included in Best New American Voices 2005 (p. 711), is about a flirtation between a Thai teenager who keeps a pet pig named Clint Eastwood and an American girl who wanders around in a bikini. His mother, who runs a motel after having been deserted by the boy’s American father, warns him about “bonking” one of the guests. “Draft Day” concerns a relieved but guilty young man whose father has bribed him out of the draft, and in “Don’t Let Me Die in This Place,” a bitter grandfather has moved from the States to Bangkok to live with his son, his Thai daughter-in-law, and two grandchildren. The grandfather’s grudging adjustment to the move and to his loss of autonomy (from a stroke) is accelerated by a visit to a carnival, where he urges the whole family into a game of bumper cars. The longest story, “Cockfighter,” is an astonishing coming-of-ager about feisty Ladda, 15, who watches as her father, once the best cockfighter in town, loses his status, money, and dignity to Little Jui, 16, a meth addict whose father is the local crime boss. Even Ladda is in danger, as Little Jui’s bodyguards try to abduct her. Her mother tells Ladda a family secret about her father’s failure of courage in fighting Big Jui to save his own sister’s honor. By the time Little Jui has had her father beaten and his ear cut off, Ladda has begun to realize how she must fend for herself.
A newcomer to watch: fresh, funny, and tough.Pub Date: Jan. 1, 2005
ISBN: 0-8021-1788-0
Page Count: 224
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2004
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
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