In these novellas, people never really know each other, which means they must take their consolations where they can.
These two novellas present an edgy evocation of contemporary life.
Nors is a creator of small spaces; her fiction is relentless, edgy, brief. The Danish writer’s collection Karate Chop (2014) gathered 15 stories in 88 pages: work marked by sudden turns through which characters must come to grips with the unexamined assumptions of their lives. Nors aspires to something similar with her new book, which brings together a pair of novellas, although we may as well call them extended prose poems. In the first, Minna Needs Rehearsal Space, she uses short declarative sentences—each framed as a single paragraph—to tell the story of a composer who desires nothing more than a kind of lasting silence, while the second, Days, comes framed as a succession of lists. The idea is to deconstruct, or rewire, narrative by stripping away excess detail in favor of something closer to pure consciousness. Yet lest this sound off-putting or difficult, it couldn’t be more accessible. The key is Nors’ specificity, which roots us in the lives she reveals. “Minna walks around among ordinary people,” she writes. "Ordinary people cheat on their taxes. / Ordinary people go to swinger clubs. / Ordinary people flee the scene of the crime." What Nors is after is the peculiar anomie of contemporary living, in which despite being constantly in touch with one another, we have never been further apart. As a consequence, we are often disconnected, separated by distances that seem impossible to bridge. All that's left to us are the smallest details, which become the lens through which we reckon with ourselves. “1. Woke an hour early,” explains the narrator of Days. “2. made instant coffee, / 3. drank it, / 4. stood by my kitchen window the same way I stood by my kitchen window when I lived on the island of Fanø and went down to the beach every day and crushed razor shells underfoot: Why do I live here? I’d wondered / 5. and couldn’t have known that one day I would stand in a flat in Valby and look at the crooked tulips in the backyard and wonder the same thing.”
In these novellas, people never really know each other, which means they must take their consolations where they can.Pub Date: June 21, 2016
ISBN: 978-1-55597-742-9
Page Count: 160
Publisher: Graywolf
Review Posted Online: March 29, 2016
Kirkus Reviews Issue: April 15, 2016
The Brat Pack meets The Bacchae in this precious, way-too-long, and utterly unsuspenseful town-and-gown murder tale. A bunch of ever-so-mandarin college kids in a small Vermont school are the eager epigones of an aloof classics professor, and in their exclusivity and snobbishness and eagerness to please their teacher, they are moved to try to enact Dionysian frenzies in the woods. During the only one that actually comes off, a local farmer happens upon them—and they kill him. But the death isn't ruled a murder—and might never have been if one of the gang—a cadging sybarite named Bunny Corcoran—hadn't shown signs of cracking under the secret's weight. And so he too is dispatched. The narrator, a blank-slate Californian named Richard Pepen chronicles the coverup. But if you're thinking remorse-drama, conscience masque, or even semi-trashy who'll-break-first? page-turner, forget it: This is a straight gee-whiz, first-to-have-ever-noticed college novel—"Hampden College, as a body, was always strangely prone to hysteria. Whether from isolation, malice, or simple boredom, people there were far more credulous and excitable than educated people are generally thought to be, and this hermetic, overheated atmosphere made it a thriving black petri dish of melodrama and distortion." First-novelist Tartt goes muzzy when she has to describe human confrontations (the murder, or sex, or even the ping-ponging of fear), and is much more comfortable in transcribing aimless dorm-room paranoia or the TV shows that the malefactors anesthetize themselves with as fate ticks down. By telegraphing the murders, Tartt wants us to be continually horrified at these kids—while inviting us to semi-enjoy their manneristic fetishes and refined tastes. This ersatz-Fitzgerald mix of moralizing and mirror-looking (Jay McInerney shook and poured the shaker first) is very 80's—and in Tartt's strenuous version already seems dated, formulaic. Les Nerds du Mal—and about as deep (if not nearly as involving) as a TV movie.
Pub Date: Sept. 16, 1992
ISBN: 1400031702
Page Count: 592
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 1, 1992
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
SEEN & HEARD
A novel of horrific beauty, where death is the only truth.
Even within the author’s extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread.
McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy’s fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father “Papa”). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the “good guys,” carriers of the fire, while most of the few remaining survivors are “bad guys,” cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel’s moral conscience. The relationship between father and son has a sweetness that represents all that’s good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they’d never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy’s recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry.
A novel of horrific beauty, where death is the only truth.Pub Date: Oct. 2, 2006
ISBN: 0-307-26543-9
Page Count: 288
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 2006
PERSPECTIVES
IN THE NEWS
SEEN & HEARD
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