by Suzanne Burns ‧ RELEASE DATE: July 11, 2017
Burns is an unmissable heir to writers of the peculiar, from Shirley Jackson to Roald Dahl.
A parade of eccentric women retreat into fantasy as they attempt to cure their loneliness.
There's a moment in this collection’s second story, “Selfie,” that tells readers much of what they need to know about the book. Violet is in her early 30s and runs a blog for goths. She decides, in an effort to up her readership, to live blog her attempts to summon a vampire lover from the local graveyard. And it works: while she's doing gravestone rubbings in the middle of the night, her undead boyfriend-to-be flits over and compliments her technique. Violet replies, “Thank you…I played with Fashion Plates as a child.” Like so many of the antiheroines Burns (Love Songs for Las Vegas, 2014, etc.) has created, Violet is an oddball, living largely inside her own imagination but desperate for approval, attention, and love. Violet's efforts to gain this love—like those of the other protagonists here—make for writing that is at once darkly funny and tenderly empathetic. In “Unwound,” Lara is inspired by a horror story about a woman whose head will fall off if her neck ribbon is removed, until she carries her playacting too far. In “Best of Show,” the wife of the world’s smallest man contemplates an affair. And in the book’s longest story, “The Unfortunate Act of Falling,” Joan, an upper-middle-class housewife, has a surprising reaction to the death of a local boy and becomes obsessed with its effect on her suburban town. Although many of Burns’ stories have similar arcs, there is such delight in the oddity of the details and the wit and precision of the writing that they each retain their sharpness.
Burns is an unmissable heir to writers of the peculiar, from Shirley Jackson to Roald Dahl.Pub Date: July 11, 2017
ISBN: 978-1-941088-76-0
Page Count: 216
Publisher: Dzanc
Review Posted Online: April 24, 2017
Kirkus Reviews Issue: May 1, 2017
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by Tim O’Brien ‧ RELEASE DATE: March 28, 1990
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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by Chinua Achebe ‧ RELEASE DATE: Jan. 23, 1958
This book sings with the terrible silence of dead civilizations in which once there was valor.
Written with quiet dignity that builds to a climax of tragic force, this book about the dissolution of an African tribe, its traditions, and values, represents a welcome departure from the familiar "Me, white brother" genre.
Written by a Nigerian African trained in missionary schools, this novel tells quietly the story of a brave man, Okonkwo, whose life has absolute validity in terms of his culture, and who exercises his prerogative as a warrior, father, and husband with unflinching single mindedness. But into the complex Nigerian village filters the teachings of strangers, teachings so alien to the tribe, that resistance is impossible. One must distinguish a force to be able to oppose it, and to most, the talk of Christian salvation is no more than the babbling of incoherent children. Still, with his guns and persistence, the white man, amoeba-like, gradually absorbs the native culture and in despair, Okonkwo, unable to withstand the corrosion of what he, alone, understands to be the life force of his people, hangs himself. In the formlessness of the dying culture, it is the missionary who takes note of the event, reminding himself to give Okonkwo's gesture a line or two in his work, The Pacification of the Primitive Tribes of the Lower Niger.
This book sings with the terrible silence of dead civilizations in which once there was valor.Pub Date: Jan. 23, 1958
ISBN: 0385474547
Page Count: 207
Publisher: McDowell, Obolensky
Review Posted Online: April 23, 2013
Kirkus Reviews Issue: Jan. 1, 1958
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