Stories in which laughter is sometimes the only response to sorrow, beauty is strange, and love is fierce and unending. A...

WILD MILK

Mark (Tsim Tsum, 2009, etc.) turns her poet's eye to the sublimely surreal in this collection of domestic oddities.

Over the course of 24 short, strange tales, Mark exposes the reader to the woman who loses her baby in the blizzard created when his caretaker begins to snow; the woman who marries Poems; the woman who becomes a tree to float her giant daughters to safety; the woman who does not eat the child. Though each of these characters is embroiled in a different danger, the sense of them as archetypes (the woman rather than a woman) and further as facets of the author's own lived experience filtered through a private symbology renders the stories at once both more universal and more personal. It is a fine slight of hand which Mark performs over and over throughout the collection: Language as precise and bitter as a pill is used to describe both the unknown and the unknowable; utterly impossible characters remind us uncomfortably of ourselves. The stories drift in the way of the best fairy tales—released from dependence on narrative sensibility to become both more odd and more true than any mere fiction. Many utilize a dream's abrupt authority. "Louis C.K., my husband, piles all my seahorses in the middle of our king-sized bed and starts shouting," begins "Let's Do This Once More, But This Time with Feeling." Other stories deploy a poet's love of words for words' sake in long, luxurious taxonomies: "The husband doesn't want his seventh wife to be sad and so he brings her Flounder. He brings her Mullet, Snook, Pickerel, Salmon, and Perch. He brings her Grunt. He brings her Bitterling and Milkfish. He brings her Tuna." Regardless of their form or feel, each is a fully rendered exploration of impossibility that loses nothing in its translation from the author's imagination to the reader's eye. It is a common cop-out to label the vagaries of nontraditional fiction written by women as experiments in language or voice and thus dismiss their agency in the "real" world in which plot-based fictions thrive. This collection, however, through both its humor and its sorrow, rings a universal chord. How to make sense of a world that refutes all sense and yet murders us when we cannot anticipate its next move? How to love in a world that uses our love as a weapon?

Stories in which laughter is sometimes the only response to sorrow, beauty is strange, and love is fierce and unending. A necessary book for our perilous age.

Pub Date: Oct. 1, 2018

ISBN: 978-0-9973666-8-6

Page Count: 168

Publisher: Dorothy

Review Posted Online: July 17, 2018

Kirkus Reviews Issue: Aug. 1, 2018

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THE COMPLETE SHORT STORIES OF ERNEST HEMINGWAY

THE FINCA VIGIA EDITION

What's most worthy in this hefty, three-part volume of still more Hemingway is that it contains (in its first section) all the stories that appeared together in the 1938 (and now out of print) The Fifth Column and the First Forty-Nine Stories. After this, however, the pieces themselves and the grounds for their inclusion become more shaky. The second section includes stories that have been previously published but that haven't appeared in collections—including two segments (from 1934 and 1936) that later found their way into To Have and Have Not (1937) and the "story-within-a-story" that appeared in the recent The garden of Eden. Part three—frequently of more interest for Flemingway-voyeurs than for its self-evident merits—consists of previously unpublished work, including a lengthy outtake ("The Strange Country") from Islands in the Stream (1970), and two poor-to-middling Michigan stories (actually pieces, again, from an unfinished novel). Moments of interest, but luckiest are those who still have their copies of The First Forty-Nine.

Pub Date: Dec. 2, 1987

ISBN: 0684843323

Page Count: 666

Publisher: Scribner

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Nov. 15, 1987

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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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