The return to the Pacific Northwest and introspective characters finds the author striking familiar, responsive chords.
Some of the best stories in this uneven collection suggest a return to form for a writer better known for his novels.
Guterson’s first story collection in 15 years should appeal to fans of his debut novel (Snow Falling on Cedars, 1994) who might have found the dark, antic humor of his most recent one (Ed King, 2011) jarring. Many of these stories concern the awkwardness of intimacy, how uncomfortable it can be—particularly in the Internet age, which has had such a profound effect on how people understand their own lives and each other. The first story, "Paradise," sets the tone and theme; it concerns two middle-aged people traveling to consummate a relationship that began through an online dating service. They barely know each other except for the narratives they have conjured, and the unnamed man has particular concerns: “He told her he didn’t know what would happen in bed. He said he hadn’t slept with anyone but his wife for twenty-six years—then add on the six months since she’d died of a heart attack while in the middle of leaving him for someone new.” The woman ultimately tells her story, which casts her in a different light than he had imagined, in a tale that resists sentimentality or pat resolution. Many of the rest feature similar difficulties in connecting: the landlord and the title character of “Tenant” (whose interplay is restricted to email and bank transfers until they finally meet in person); the adult brother and sister in “Pilanesberg” (he visits her in Africa, where she is dying of cancer). Many of the stories hit similar notes, in which self-conscious characters discover that “no matter what you did, you were wrong.”
The return to the Pacific Northwest and introspective characters finds the author striking familiar, responsive chords.Pub Date: June 14, 2014
ISBN: 978-0-385-35148-5
Page Count: 176
Publisher: Knopf
Review Posted Online: April 16, 2014
Kirkus Reviews Issue: May 1, 2014
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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"This soil," concludes the young narrator of this quiet chronicle of garrotted innocence, "is bad for all kinds of flowers. Certain seeds it will not nurture, certain fruit it will not bear." And among the exclusions of white rural Ohio, echoed by black respectability, is ugly, black, loveless, twelve-year-old Pecola. But in a world where blue-eyed gifts are clucked over and admired, and the Pecolas are simply not seen, there is always the possibility of the dream and wish—for blue eyes. Born of a mother who adjusted her life to the clarity and serenity of white households and "acquired virtues that were easy to maintain" and a father, Cholly, stunted by early rejections and humiliations, Pecola just might have been loved—for in raping his daughter Cholly did at least touch her. But "Love is never better than the lover," and with the death of her baby, the child herself, accepting absolutely the gift of blue eyes from a faith healer (whose perverse interest in little girls does not preclude understanding), inches over into madness. A skillful understated tribute to the fall of a sparrow for whose small tragedy there was no watching eye.
Pub Date: Oct. 29, 1970
ISBN: 0375411550
Page Count: -
Publisher: Holt Rinehart & Winston
Review Posted Online: Sept. 30, 2011
Kirkus Reviews Issue: Oct. 1, 1970
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