Berry is a maker of beautiful sentences, lightly touched with Southern dialect and soberly concerned with the future of the...

A PLACE IN TIME

TWENTY STORIES OF PORT WILLIAM

The septuagenarian Berry makes a return visit to the genial farm community that much of his fiction has called home.

When Berry (Hannah Coulter, 2004, etc.) hasn’t been writing poetry or essays on farming life, he’s written fiction set in Port William, Ky., which rivals William Faulkner’s Yoknapatawpha County in terms of its breadth of imagined historical detail. These 20 new stories feature familiar characters from earlier novels and stories, but the reader needn’t have read those to get pleasure out of these. That said, the pleasures of this book are modest: Many of these stories are slight fables, flickering with only the slightest plot then softly ending, consistently well-drawn but not always memorable. One of the most potent stories, for instance, is markedly subtle: “A Desirable Woman” tracks the intersection of a pastor’s wife and a young farmhand shortly before the start of World War II, and the story turns on the young man’s unrequited crush on the woman shortly before he’s sent off to war. “Sold” has a similarly soft-focus, nostalgic cast, narrated by an elderly woman recalling the accumulations that are about to be sold at auction before she enters a nursing home. (The stories are arranged in the order of their chronological setting, from 1864 to 2008, but events largely cling to the WWII and postwar era.) The better, more energetic stories have the comic, homespun feel of tall tales, as in “A New Day,” which climaxes in a competition between two horse teams dragging bricks, or “A Burden,” about the antics of a drunk relation.

Berry is a maker of beautiful sentences, lightly touched with Southern dialect and soberly concerned with the future of the agrarian spirit. But Berry’s characters and tone alike feel muted.

Pub Date: Oct. 16, 2012

ISBN: 978-1-61902-049-8

Page Count: 368

Publisher: Counterpoint

Review Posted Online: Sept. 16, 2012

Kirkus Reviews Issue: Oct. 1, 2012

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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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Old-fashioned short fiction: honest, probing and moving.

A PERMANENT MEMBER OF THE FAMILY

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: Sept. 1, 2013

Kirkus Reviews Issue: Sept. 15, 2013

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