A haunting, surprising, and rebellious collection that contains multitudes.

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THOUGH I GET HOME

A mosaic of stories about state- and self-imposed silence and what it means to find your voice.

The 14 stories in Chin’s debut collection are centered around Malaysia: the people, culture, and country. Interconnected (sometimes loosely, sometimes overtly) by characters, the stories also share themes like patriotism, censorship, personhood, and art as protest. In “When Starbucks Came,” a woman contemplates her unfulfilling relationship in the wake of the coffee chain's opening a store in Taiping. In “A Malaysian Man in Mayor Bloomberg’s Silicon Alley,” a young man living in America returns home to vote and struggles with his dueling identities. When asked by the American woman he’s dating for one thing only true Malaysians would know, he replies: “we either think we are the best country in the world, or the worst country in the world.” These stories exist in the gray area in between. Corruption and state violence exist in the same world as forbidden family stories and “rain-betting.”Isabella Sin, who serves as the throughline for the collection, is first introduced in “Though She Gets Home” when she goes to her first protest and is later arrested for writing “inflammatory…pornographic” poems. An unexpected twist slowly revealed over the course of a few stories leads to the final tale, “So She Gets Home,” which sees Isabella home from the “country’s most notorious prison.” In the wake of her detainment, she is trying to navigate the Venn diagram of her identity: how others define her and how she defines herself. The idea of becoming who she is meant to be leaves the sometimes-devastating book on a hopeful note.

A haunting, surprising, and rebellious collection that contains multitudes.

Pub Date: April 10, 2018

ISBN: 978-1-93693-216-0

Page Count: 224

Publisher: Feminist Press

Review Posted Online: Jan. 23, 2018

Kirkus Reviews Issue: Feb. 1, 2018

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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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Readers seeking a tale well told will take pleasure in King’s sometimes-scary, sometimes merely gloomy pages.

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THE BAZAAR OF BAD DREAMS

STORIES

A gathering of short stories by an ascended master of the form.

Best known for mega-bestselling horror yarns, King (Finders Keepers, 2015, etc.) has been writing short stories for a very long time, moving among genres and honing his craft. This gathering of 20 stories, about half previously published and half new, speaks to King’s considerable abilities as a writer of genre fiction who manages to expand and improve the genre as he works; certainly no one has invested ordinary reality and ordinary objects with as much creepiness as King, mostly things that move (cars, kid’s scooters, Ferris wheels). Some stories would not have been out of place in the pulp magazines of the 1940s and ’50s, with allowances for modern references (“Somewhere far off, a helicopter beats at the sky over the Gulf. The DEA looking for drug runners, the Judge supposes”). Pulpy though some stories are, the published pieces have noble pedigrees, having appeared in places such as Granta and The New Yorker. Many inhabit the same literary universe as Raymond Carver, whom King even name-checks in an extraordinarily clever tale of the multiple realities hidden in a simple Kindle device: “What else is there by Raymond Carver in the worlds of Ur? Is there one—or a dozen, or a thousand—where he quit smoking, lived to be 70, and wrote another half a dozen books?” Like Carver, King often populates his stories with blue-collar people who drink too much, worry about money, and mistrust everything and everyone: “Every time you see bright stuff, somebody turns on the rain machine. The bright stuff is never colorfast.” Best of all, lifting the curtain, King prefaces the stories with notes about how they came about (“This one had to be told, because I knew exactly what kind of language I wanted to use”). Those notes alone make this a must for aspiring writers.

Readers seeking a tale well told will take pleasure in King’s sometimes-scary, sometimes merely gloomy pages.

Pub Date: Nov. 3, 2015

ISBN: 978-1-5011-1167-9

Page Count: 512

Publisher: Scribner

Review Posted Online: Aug. 17, 2015

Kirkus Reviews Issue: Sept. 1, 2015

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