Some readers will find these stories repetitive and aridly arty. But the dialogue is witty and erudite, the style lapidary,...
The latest from Tuten, one of the gray eminences of the American avant-garde (The Green Hour, 2002, etc.), is a collection of enigmatic and interconnected stories about love, death, myth and memory.
Most of these meditative fictions feature two principal characters, a first-person narrator—sometimes a painter or an art critic, always exquisitely sensitive, worldly, prone to allude to myth, literature, music and the visual arts—and a woman who’s a sort of shape-shifting Eternal Beloved. Over and again, in exotic places and in circumstances often tinged with dream-logic or Borgesian whimsy, they meet and spar and touch and (often) part. In “Self Portrait with Circus,” a lovelorn ringmaster vies with the strongman for the heart of his wire-walking love (and is consoled in his heartache by the wise, dignified elephants); in “The Park Near Marienbad,” a lonely art critic, still grieving his long-dead wife, eavesdrops on a young couple’s cafe repartee and tries to write himself into their story, and thus back into his own. “Self Portrait with Icebergs” ends with a schooner “like a burning fruit encased in ice” steaming down Avenue B toward the Narrows and then the open sea, bound for Antarctica; “Self Portrait with Cheese” is a surrealist fever dream; in “The Park on Fire,” a man leaves his wife reading in a hotel and embarks on a stroll in the park that becomes a trip through an inferno, the tour led this time not by Virgil but by Federico García Lorca.
Some readers will find these stories repetitive and aridly arty. But the dialogue is witty and erudite, the style lapidary, and there are moments of elegiac lyricism to rival Tuten’s great Tintin in the New World (1993).Pub Date: Sept. 13, 2010
ISBN: 978-0-393-07905-0
Page Count: 192
Publisher: Norton
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: July 15, 2010
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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