Lovely and lyrical—a celebration of language and another virtuoso performance from a writer who does indeed deserve to be...
Elegant, lapidary stories that beg Ann Patchett’s question in the introduction: “Why isn’t Edith Pearlman famous?”
Pearlman (Love Among the Greats, 2002, etc.) is a master of the form, without doubt, though, like V.S. Pritchett, with whom she shares several points in common, there is nothing at all flashy about her fictions. Her stories are lush, at least as compared to the aridities of all those Raymond Carver–inspired tales of the last quarter-century, and they range the world in search of reports about the human condition. Often Pearlman writes of misplaced and displaced people, whether Jewish refugees from World War II–era Europe or characters who aren’t comfortable inside their own skins; often her characters can barely communicate, mistrustful of and limited by language (“On the fourth Thursday in August the youngest grandchild at last deigned to speak the language she had long understood, and demanded, in grammatical English, to be taken with the other kids to a traveling carnival”); it’s not uncommon for one of Pearlman’s players to be reaching for a dictionary somewhere along the way. Pearlman’s characters, too, are often layered in symbolism without being mere ciphers, as with the protagonist of “The Noncombatant,” a note-perfect evocation of the moment Americans on the home front learn that the war in the Pacific has ended—which does not mean, not by any stretch, that the goddess Eris has left the earth (“He felt his dying staunched by her wrath, her passionate unsubmissiveness”). Most of these stories are earnest, often even grim, though Pearlman is not without a sense of humor that mostly manifests in giving taunting names (“the Sisters Scrabble and the geezer”) to some of her foils. But humor is not what these stories are about; instead, Pearlman favors the startling moral problem (what should we think of a travel writer who does not travel, but invents places?) and the poetic meditation on family history and the passage of time.
Lovely and lyrical—a celebration of language and another virtuoso performance from a writer who does indeed deserve to be better known.Pub Date: Jan. 11, 2011
ISBN: 978-0-9823382-9-2
Page Count: 375
Publisher: Lookout Books
Review Posted Online: Nov. 22, 2011
Kirkus Reviews Issue: Dec. 1, 2011
IN THE NEWS
These letters from some important executive Down Below, to one of the junior devils here on earth, whose job is to corrupt mortals, are witty and written in a breezy style seldom found in religious literature. The author quotes Luther, who said: "The best way to drive out the devil, if he will not yield to texts of Scripture, is to jeer and flout him, for he cannot bear scorn." This the author does most successfully, for by presenting some of our modern and not-so-modern beliefs as emanating from the devil's headquarters, he succeeds in making his reader feel like an ass for ever having believed in such ideas. This kind of presentation gives the author a tremendous advantage over the reader, however, for the more timid reader may feel a sense of guilt after putting down this book. It is a clever book, and for the clever reader, rather than the too-earnest soul.
Pub Date: Jan. 1, 1942
ISBN: 0060652934
Page Count: 53
Publisher: Macmillan
Review Posted Online: Oct. 17, 2011
Kirkus Reviews Issue: June 15, 1943
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
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