A gripping collection of yarns in which social disadvantages take on monstrous shapes.
Racism and homophobia are among the eerie phenomena haunting these tense stories.
In this debut collection, Hayslett’s characters, most of them black, brown, and/or queer, have their personal problems complicated by their outsider status, by ominous politics, and by occasional eruptions of madness and the macabre. In “2016,” a black lesbian copes with her sister’s troubled pregnancy, her father’s cancer diagnosis, and an increasingly crazy presidential campaign while a ghostly skull that only she can see gradually materializes over her face when she looks in the mirror. In “Money Men,” an Atlanta prostitute who passes the time watching cable news while servicing her clients becomes obsessed with the Arab Spring revolutions she sees on TV. In the Twilight Zone–ish “Super Rush,” a 35-year-old gay man begins an affair with a 19-year-old version of himself whom he encounters at a bathhouse; in “Denial Twist,” a gay man’s affair with a flamboyant drag queen is derailed by homophobic violence; and in “A Step Toward Evolution,” a Native American gay man who feels slighted by white gay men who use and discard him initiates a germ-warfare campaign. And in the disturbing “Come Clean,” two black children observe the bizarre changes in their mother after she is sexually assaulted by a white man and fear she is turning into a vampire. Hayslett paints this world in matter-of-fact realism that’s trimmed with deadpan humor and knocked only slightly off-kilter by incursions of the paranormal, conveying it all in brisk, evocative, grungily lyrical prose. “When your husband finally tells you he’s fucking Celia Washington, your ears fill with room-tone…it’s the first time in six months he’s not grinning like a two-dollar-idiot, and your vision crisps so sharp you can see every scraggly outline of lint on his jacket, and his breath feels like ten thousand wet pellets splashing your face as he says I’m sorry, I’m so so sorry,” growls the narrator of “Hope It Felt Good” as a wronged wife begins a bizarre metamorphosis. The author keeps the identity politics pervasive yet unobtrusive as his characters fight a twilight struggle against a world bent on erasing their realities.
A gripping collection of yarns in which social disadvantages take on monstrous shapes.Pub Date: Feb. 15, 2019
ISBN: 978-1-947041-22-6
Page Count: 102
Publisher: Running Wild Press
Review Posted Online: May 31, 2019
Kirkus Reviews Issue: Aug. 1, 2019
Review Program: Kirkus Indie
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
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
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
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