A magnificently strange compilation offers a fun-house mirror view of contemporary life.
The difference between the surreal and the mundane is shown to be negligible in this fine collection of essays and stories.
Vint, an accomplished Estonian painter and author of numerous works of fiction (An Unending Landscape, 2012, etc.), has a new feast on offer: a peculiar blend of fiction and autobiography in which the conventions of both forms are thoroughly interrogated. The first half of the book consists of essays about Vint’s life. Though not comprehensive, the essays cover his childhood, his entry as a young man into the Estonian/Soviet art world of the 1960s, and his experiences as an older man, as well as his marriage to the artist Aili Vint. The essays describe Vint’s life in what was first a small Soviet republic and then an independent one, but they also seem to verge without warning on the surreal, if not the outright fictional. In one, he describes becoming aroused by a woman seated next to him on the bus whose body brushes against his own. When he turns to look at her face, however, he realizes she’s dead. Blood trickles from her mouth. Did this really happen? It doesn’t seem to matter, and either way, Vint offers fair warning for his hazy merging of the real with the unreal. In his first essay, “That Wonderful Hairy Beast Called Fib,” he recalls learning to tell lies as a young boy: "In the end,” he writes, “you have to make the whole world somehow fit with some little lie that came into your mind quite by chance, significantly revising the whole of reality in the process.” This revising technique is wonderful, but less wonderful is Vint’s habit of self-centered, self-referential reflection. At times he seems full of himself, uninterested in the world outside his own art. For that reason, the stories are stronger than the essays, because they force Vint outside of himself. In one of the best, a man comes to the realization that he is in fact a dog and has always been one. Then his marriage falls apart and he struggles to find work. Like Tetris pieces, the stories click into place alongside each other, some picking up where the others left off, offering new perspectives on narratives already delivered. In another story, the man who is a dog is taken in by a lonely woman who answers a newspaper ad. Throughout the collection, Vint’s commentaries on the absurdity of daily life are remarkable. He wouldn’t be out of place at a table headed by Salvador Dali.
A magnificently strange compilation offers a fun-house mirror view of contemporary life.Pub Date: April 29, 2016
ISBN: 978-1-56478-947-1
Page Count: 368
Publisher: Dalkey Archive
Review Posted Online: Feb. 3, 2016
Kirkus Reviews Issue: Feb. 15, 2016
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet...
Four Chicago sisters anchor a sharp, sly family story of feminine guile and guilt.
Newcomer Lombardo brews all seven deadly sins into a fun and brimming tale of an unapologetically bougie couple and their unruly daughters. In the opening scene, Liza Sorenson, daughter No. 3, flirts with a groomsman at her sister’s wedding. “There’s four of you?” he asked. “What’s that like?” Her retort: “It’s a vast hormonal hellscape. A marathon of instability and hair products.” Thus begins a story bristling with a particular kind of female intel. When Wendy, the oldest, sets her sights on a mate, she “made sure she left her mark throughout his house—soy milk in the fridge, box of tampons under the sink, surreptitious spritzes of her Bulgari musk on the sheets.” Turbulent Wendy is the novel’s best character, exuding a delectable bratty-ness. The parents—Marilyn, all pluck and busy optimism, and David, a genial family doctor—strike their offspring as impossibly happy. Lombardo levels this vision by interspersing chapters of the Sorenson parents’ early lean times with chapters about their daughters’ wobbly forays into adulthood. The central story unfurls over a single event-choked year, begun by Wendy, who unlatches a closed adoption and springs on her family the boy her stuffy married sister, Violet, gave away 15 years earlier. (The sisters improbably kept David and Marilyn clueless with a phony study-abroad scheme.) Into this churn, Lombardo adds cancer, infidelity, a heart attack, another unplanned pregnancy, a stillbirth, and an office crush for David. Meanwhile, youngest daughter Grace perpetrates a whopper, and “every day the lie was growing like mold, furring her judgment.” The writing here is silky, if occasionally overwrought. Still, the deft touches—a neighborhood fundraiser for a Little Free Library, a Twilight character as erotic touchstone—delight. The class calibrations are divine even as the utter apolitical whiteness of the Sorenson world becomes hard to fathom.
Characters flip between bottomless self-regard and pitiless self-loathing while, as late as the second-to-last chapter, yet another pleasurable tendril of sisterly malice uncurls.Pub Date: June 25, 2019
ISBN: 978-0-385-54425-2
Page Count: 544
Publisher: Doubleday
Review Posted Online: March 3, 2019
Kirkus Reviews Issue: March 15, 2019
SEEN & HEARD
Absolutely enthralling. Read it.
A young Irish couple gets together, splits up, gets together, splits up—sorry, can't tell you how it ends!
Irish writer Rooney has made a trans-Atlantic splash since publishing her first novel, Conversations With Friends, in 2017. Her second has already won the Costa Novel Award, among other honors, since it was published in Ireland and Britain last year. In outline it's a simple story, but Rooney tells it with bravura intelligence, wit, and delicacy. Connell Waldron and Marianne Sheridan are classmates in the small Irish town of Carricklea, where his mother works for her family as a cleaner. It's 2011, after the financial crisis, which hovers around the edges of the book like a ghost. Connell is popular in school, good at soccer, and nice; Marianne is strange and friendless. They're the smartest kids in their class, and they forge an intimacy when Connell picks his mother up from Marianne's house. Soon they're having sex, but Connell doesn't want anyone to know and Marianne doesn't mind; either she really doesn't care, or it's all she thinks she deserves. Or both. Though one time when she's forced into a social situation with some of their classmates, she briefly fantasizes about what would happen if she revealed their connection: "How much terrifying and bewildering status would accrue to her in this one moment, how destabilising it would be, how destructive." When they both move to Dublin for Trinity College, their positions are swapped: Marianne now seems electric and in-demand while Connell feels adrift in this unfamiliar environment. Rooney's genius lies in her ability to track her characters' subtle shifts in power, both within themselves and in relation to each other, and the ways they do and don't know each other; they both feel most like themselves when they're together, but they still have disastrous failures of communication. "Sorry about last night," Marianne says to Connell in February 2012. Then Rooney elaborates: "She tries to pronounce this in a way that communicates several things: apology, painful embarrassment, some additional pained embarrassment that serves to ironise and dilute the painful kind, a sense that she knows she will be forgiven or is already, a desire not to 'make a big deal.' " Then: "Forget about it, he says." Rooney precisely articulates everything that's going on below the surface; there's humor and insight here as well as the pleasure of getting to know two prickly, complicated people as they try to figure out who they are and who they want to become.
Absolutely enthralling. Read it.Pub Date: April 16, 2019
ISBN: 978-1-984-82217-8
Page Count: 288
Publisher: Hogarth
Review Posted Online: Feb. 17, 2019
Kirkus Reviews Issue: March 1, 2019
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