Less stylish than The Green Mile (or than Poe), though King remains strong in the short form.
These days, grumbles King (Hearts in Atlantis, 1999), “When you get done, you get done . . . I don’t want to finish up like Harold Robbins.” (Robbins wrote into his 80s despite aphasia from a stroke and kept publishing despite being dead.)
Here, King gathers previously uncollected tales from sources that show his desire to stay fresh by diving into new waters: three pieces have never seen paper—having been electronic, part of a game, or for audio—and four are more polished pieces that ran first in The New Yorker. The title story is from a game called F13 (don’t ask us) and tells of social outcast Dink Earnshaw, who uses symbols and personal words to lead others to suicide. A Mr. Sharpton from Transcorp gets Dink to join his company and write letters that deservedly kill evil people, although Dink must consequently live a constricted life bound by odd rules. (One day, he figures that he’s killed over 200 people, and, hey, not all of them evil.) “Riding the Bullet,” which made publishing history as an e-book and audio book, tells about Alan Parker hitchhiking from the University of Maine to see his hospitalized mother and getting a ride with George Staub, two years dead, whose grave Alan has seen (facing death—this is a “bullet” we all must ride). In “All That You Love Will Be Carried Away,” Alfie Zimmer, a Gourmet Foods salesman, decides against suicide (for now) and thus saves his large collection of graffiti notes gathered while on the road. In the Poe-esque “In the Deathroom,” an imprisoned New York Times reporter being tortured in some nameless South American version of hell faces death as certain as that faced under the Inquisitors of Toledo in the “The Pit and the Pendulum.” Except that. . . .
Less stylish than The Green Mile (or than Poe), though King remains strong in the short form.Pub Date: March 19, 2002
ISBN: 0-7432-3515-0
Page Count: 464
Publisher: Scribner
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 2002
For all the portentous metaphors (keys and locks appear in every story) and all the convoluted and fabulist narrations,...
These nine casually interlocking stories, set in a familiar yet surreal contemporary world, overflow with the cerebral humor and fantastical plots that readers have come to expect from Oyeyemi (Boy Snow Bird, 2014).
The opener, "Books and Roses," sets the tone: stories within stories and a fittingly cockeyed view of Gaudi’s architecture as two women in Barcelona share their experiences in abandonment while searching for the loved ones who left them behind. Most of the volume takes place in England, with nods toward Eastern Europe. In " 'Sorry' Doesn’t Sweeten Her Tea," weight-loss clinician Anton becomes increasingly involved in raising his boyfriend’s two adolescent daughters, Aisha and Dayang, while fishsitting for a traveling friend. The story seems straightforward until Anton’s friend falls in long-distance love with a mystery woman who's entered his locked house without a key and Anton’s co-worker Tyche helps Aisha recover from a crisis in disillusionment by casting a spell from the Greek goddess Hecate. Tyche returns as a student puppeteer in "Is Your Blood as Red as This?," which layers creepy echoes of Pinocchio onto realistically genuine adolescent sexual confusion. Readers realize Tyche’s fellow students Radha and Myrna have ended up sexually happy-ever-after when they pop up in "Presence" to lend their shared apartment to a psychologist so she and her grief-counselor husband can carry out the ironically eponymous science-fiction experiment that forces the psychologist to accept the absences in her life. While Aisha appears as a filmmaker employing puppets in "Freddy Barrandov Checks…In?," Dayang stars as ingénue in "A Brief History of the Homely Wench Society," a post-feminist romantic comedy about warring men's and women’s societies at Cambridge. Several stories are pure fairy tale, like "Dornicka and the St. Martin’s Day Goose," a twisted take on "Little Red Riding Hood,” and "Drownings," in which good intentions defeat a murderous tyrant.
For all the portentous metaphors (keys and locks appear in every story) and all the convoluted and fabulist narrations, Oyeyemi’s stories are often cheerfully sentimental.Pub Date: March 8, 2016
ISBN: 978-1-59463-463-5
Page Count: 304
Publisher: Riverhead
Review Posted Online: Dec. 21, 2015
Kirkus Reviews Issue: Jan. 1, 2016
Gutsy stories from one of our most fearless writers.
Characters from the fringes of society grapple with desire and fury in this collection of short stories.
Early on in “The Pull,” a story about a young swimmer from a war-torn country, the narrator describes her childhood as the “kind of story that makes your chest grow tight as you listen.” The stories here are exactly that kind: insistently visceral, pushing into, and past, the reader’s comfort zone. Many of the stories center erotic experiences. In “The Garden of Earthly Delights,” Bosch works in a modern-day fish processing plant, and he finds boundless pleasure in the arms of a young male co-worker. In “Cusp,” a teenage girl smuggles drugs into a local prison and shares her body with the prisoners as a way of being closer to her incarcerated brother. But if these stories teach us about lust, they also flip to the other side of that same coin: These are narratives full of deep rage. Some of this rage takes place inside of intimate relationships, as in “A Woman Signifying,” in which the protagonist deliberately burns her face against a radiator to create a “symbol” of her anger at her lover. Sometimes this rage is social, as in “Drive Through,” about an encounter with a panhandler at a McDonald’s drive-thru. Yuknavitch (The Misfit’s Manifesto, 2017, etc.) keeps readers’ heads pressed against what is hardest to see, and this doesn’t always land. Some of the rage can feel self-righteous; some of the desire pushes deep into taboo and veers toward unpalatable. But where there are risks, there are rewards, and these howls from the throats of women, queer characters, the impoverished, and the addicted remind us of the beauty and pain of our shared humanity.
Gutsy stories from one of our most fearless writers.Pub Date: Feb. 4, 2020
ISBN: 978-0-525-53487-7
Page Count: 208
Publisher: Riverhead
Review Posted Online: Oct. 27, 2019
Kirkus Reviews Issue: Nov. 15, 2019
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