Sophisticated and intelligent, Macy offers the kind of subtlety that turns the ordinary into the sublime.
Nine years after her winning debut novel (The Fundamentals of Play, 2000), Macy follows with an impressive, psychologically nuanced collection of stories on class and gender in New York.
The stories profile a certain kind of American woman who is upwardly mobile, though not gauche enough to admit it, even to herself. “Christie” has an old-fashioned construction. It’s a straightforward character study of a young woman who comes to Manhattan to make good. But soon it becomes clear that the narrator has a grudge against Christie—she is a phony, shallow gold digger. The narrator vows to prune Christie from her circle of acquaintances. That is until she sees her a few years later exiting the luxury building she and her husband have been denied an apartment in. Lunch ensues, the power has shifted and it soon becomes clear that the story’s focus is not Christie at all but the narrator. In “Annabel’s Mother,” Liz becomes fascinated by the girl that plays in the private park across from her building. Annabel is polite and lovely and plays with Liz’s toddler Sally, and while this goes on, Liz confides in Annabel’s West Indian nanny, Marva. Liz is outraged that Annabel’s mother won’t loan Marva the money to bring her son to America, and so she offers a loan herself. This is the beginning of many Liz/Marva disappointments. Marva is not grateful enough for the loan, Marva has given Sally a nonorganic doughnut and, worst of all, Marva may like Annabel more than she likes Sally. In “The Red Coat,” a newlywed steals the coat of her recently acquired housekeeper (a young, attractive Ukrainian cleaning her way through design school) to both diminish her and gain some of her power. In “Taroudant,” a woman honeymooning in Morocco sets the tone for years of what will undoubtedly be an unhappy marriage—she is competitive, dissatisfied and yearning for the kind of unnamed excitement that courts tragedy.
Sophisticated and intelligent, Macy offers the kind of subtlety that turns the ordinary into the sublime.Pub Date: March 10, 2009
ISBN: 978-1-4000-6199-0
Page Count: 240
Publisher: Random House
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Feb. 1, 2009
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
SEEN & HEARD
IN THE NEWS
SEEN & HEARD
A newcomer to watch: fresh, funny, and tough.
Seven stories, including a couple of prizewinners, from an exuberantly talented young Thai-American writer.
In the poignant title story, a young man accompanies his mother to Kok Lukmak, the last in the chain of Andaman Islands—where the two can behave like “farangs,” or foreigners, for once. It’s his last summer before college, her last before losing her eyesight. As he adjusts to his unsentimental mother’s acceptance of her fate, they make tentative steps toward the future. “Farangs,” included in Best New American Voices 2005 (p. 711), is about a flirtation between a Thai teenager who keeps a pet pig named Clint Eastwood and an American girl who wanders around in a bikini. His mother, who runs a motel after having been deserted by the boy’s American father, warns him about “bonking” one of the guests. “Draft Day” concerns a relieved but guilty young man whose father has bribed him out of the draft, and in “Don’t Let Me Die in This Place,” a bitter grandfather has moved from the States to Bangkok to live with his son, his Thai daughter-in-law, and two grandchildren. The grandfather’s grudging adjustment to the move and to his loss of autonomy (from a stroke) is accelerated by a visit to a carnival, where he urges the whole family into a game of bumper cars. The longest story, “Cockfighter,” is an astonishing coming-of-ager about feisty Ladda, 15, who watches as her father, once the best cockfighter in town, loses his status, money, and dignity to Little Jui, 16, a meth addict whose father is the local crime boss. Even Ladda is in danger, as Little Jui’s bodyguards try to abduct her. Her mother tells Ladda a family secret about her father’s failure of courage in fighting Big Jui to save his own sister’s honor. By the time Little Jui has had her father beaten and his ear cut off, Ladda has begun to realize how she must fend for herself.
A newcomer to watch: fresh, funny, and tough.Pub Date: Jan. 1, 2005
ISBN: 0-8021-1788-0
Page Count: 224
Publisher: Grove
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 15, 2004
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