Marvels within marvels, from a writer whose prose possesses the equivalent of what musicians call perfect pitch.
A collection of gossamer yet substantial entertainments from the ineffably graceful stylist well on his way to becoming America’s Borges (or, perhaps, Cortázar).
If that seems paradoxical, so does Millhauser, who has spent decades perfecting a minimalist art that nevertheless encompasses the history of our culture, its predecessors and its oppressors. These most recent products of his fertile imagination can perhaps be faulted for too often echoing his Pulitzer-winning Martin Dressler or—more egregiously—his languid second novel Portrait of a Romantic. Still, the collection starts well with “Cat ’n’ Mouse,” presented as a narrative shooting script for a cartoon in which a homicidal feline is consistently outwitted by an introspective, borderline-studious mouse. The story works smashingly, both on the level of pure story and as a (perhaps partially autobiographical?) allegory of the contemplative temperament at odds with the exigencies of brute physicality. There follow three clusters of four stories each. Among the highlights in the section entitled “Vanishing Acts” is “The Disappearance of Elaine Coleman,” which concerns the guilty narrator’s regret for his unintentional part in what caused the “vanishing” of a mousy, withdrawn high-school classmate, and the title story, which details the creation of a “game” that briefly engages the participation of distractible adolescents, while crucially transforming one girl who takes it too seriously. The best of the section entitled “Impossible Architectures” is “The Dome,” a deadpan paean to a sheltering superstructure whose protectiveness “has abolished Nature,” and “The Tower,” which concerns the human fallout from a structure thrusting upward and reaching to heaven. “Heretical Histories” explores further the passion to invent, control and manipulate—most memorably in a fable that celebrates trivial minutiae (“Here at the Historical Society”), and the history of an inventor who pushes representational art beyond its limits (“A Precursor of the Cinema”).
Marvels within marvels, from a writer whose prose possesses the equivalent of what musicians call perfect pitch.Pub Date: Feb. 15, 2008
ISBN: 978-0-307-26756-6
Page Count: 256
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Jan. 1, 2008
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
Superb stylist L’Amour returns (End of the Drive, 1997, etc.), albeit posthumously, with ten stories never seen before in book form—and narrated in his usual hard-edged, close-cropped sentences, jutting up from under fierce blue skies. This is the first of four collections of L’Amour material expected from Bantam, edited by his daughter Angelique, featuring an eclectic mix of early historicals and adventure stories set in China, on the high seas, and in the boxing ring, all drawing from the author’s exploits as a carnival barker and from his mysterious and sundry travels. During this period, L’Amour was trying to break away from being a writer only of westerns. Also included is something of an update on Angelique’s progress with her father’s biography: i.e., a stunningly varied list of her father’s acquaintances from around the world whom she’d like to contact for her research. Meanwhile, in the title story here, a missionary’s daughter who crashes in northern Asia during the early years of the Sino-Japanese War is taken captive by a nomadic leader and kept as his wife for 15 years, until his death. When a plane lands, she must choose between taking her teenaged son back to civilization or leaving him alone with the nomads. In “By the Waters of San Tadeo,” set on the southern coast of Chile, Julie Marrat, whose father has just perished, is trapped in San Esteban, a gold field surrounded by impassable mountains, with only one inlet available for anyone’s escape. “Meeting at Falmouth,” a historical, takes place in January 1794 during a dreadful Atlantic storm: “Volleys of rain rattled along the cobblestones like a scattering of broken teeth.” In this a notorious American, unnamed until the last paragraph, helps Talleyrand flee to America. A master storyteller only whets the appetite for his next three volumes.
Pub Date: May 11, 1999
ISBN: 0-553-10963-4
Page Count: 288
Publisher: Bantam
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 1, 1999
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