Mordant debut collection of terse stories (some only a few paragraphs long), featuring a playful use of language in the service of a grim vision of contemporary life. Lutz's protagonists are, typically, obsessive catalogers of life's minutiae, going through the motions at vaguely delineated jobs, baffled by life, between relationships and wondering, as one puts it, ``at what point people become environments for one another to enter.'' All of them would agree with the harassed character who stops the narrator of ``When You Got Back'' on a parking lot to complain cryptically that ``there was something unutterably troubling and unfinished about what had happened.'' In these tales, of course, the important things have happened long ago, and they happened somewhere offstage. What Lutz offers is the aftermath. In ``Slops,'' a college professor in his ``shadowed, septic thirties,'' suffering from colitis, offers brief descriptions of the ways in which he keeps colleagues and students (``the whole faceless, rostered population of them'') at a distance. Indirectly, something larger, a sense of the haunted, hapless nature of the man, comes through. In ``Recessional,'' the narrator (``a shadow- slopping, chronically how-evering man'') finds himself increasingly unable to utter even the simplest commands, to communicate at all, or to take action, and is reduced to precisely describing even the smallest gestures of those around him, as if to recapture his rapidly evaporating self. The problem is that the language these figures use, the exact, even prissy, descriptive monologues common to the pieces, is at first startling but quickly, across the span of many tales, becomes rather deadening. And the disaffected figures here, who seem at first both deeply alarming and memorable, begin to seem too much alike. There's no doubt that Lutz offers a distinctive, disturbing vision of an anomic world. But a little of this vision goes a very long way.
Pub Date: Nov. 1, 1996
ISBN: 0-679-42596-9
Page Count: 160
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 1996
BOOK REVIEW
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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