Ferris has mastered a kind of fictional sucker punch, and he’ll get you every time.
Grimly humorous urban morality tales of men behaving badly and marriages on the rocks.
In a collection of 11 previously published short stories, six of which appeared in the New Yorker, Ferris (To Rise Again at a Decent Hour, 2014, etc.) continues the trick of fitting a bleak moral vision into what feels like the setup for a comedy. In the title story, a nasty husband who thinks he knows exactly how his boring evening will play out gets a big surprise from his dinner guests. Similar comeuppance is visited on the protagonist of “A Night Out,” whose attempts to hide his serial cheating from his wife are derailed permanently. Both stories unfold as if they were farces, yet in the end they are tragedies. Another pair of stories feature the inner monologues of deeply neurotic protagonists, Woody Allen–esque guys who overthink their ways to disaster, whether among successful film people at a chic Hollywood party (“The Pilot”) or with a laconic mover at a storage unit (“A Fair Price”). While most of Ferris’ marriages are heading for divorce, he predicts continued heartbreak for a fatherless boy in “Ghost Town Choir” and depicts the long-term effects of broken families in “The Step Child.” “On, astonishingly, six other occasions, when his parents met other people, and fell in love, and married, and ordered the instant integration of two families’ lives, their laundry, and their lore (and, to often disastrous effect, their DNA)—the Morgans, followed by the Dinardos and the Teahans, on his mother’s side; the Winklows, the Andersons, and that insufferable Lee clan, on his father’s—he had…[wanted] nothing more than to return to the bunk bed in his first room, where all the linens and the wall shadows had been under a single, steady proprietorship.”
Ferris has mastered a kind of fictional sucker punch, and he’ll get you every time.Pub Date: May 2, 2017
ISBN: 978-0-316-46595-3
Page Count: 256
Publisher: Little, Brown
Review Posted Online: Feb. 5, 2017
Kirkus Reviews Issue: Feb. 15, 2017
BOOK REVIEW
BOOK REVIEW
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
Told through the points of view of the four Garcia sisters- Carla, Sandi, Yolanda and Sofia-this perceptive first novel by poet Alvarez tells of a wealthy family exiled from the Dominican Republic after a failed coup, and how the daughters come of age, weathering the cultural and class transitions from privileged Dominicans to New York Hispanic immigrants. Brought up under strict social mores, the move to the States provides the girls a welcome escape from the pampered, overbearingly protective society in which they were raised, although subjecting them to other types of discrimination. Each rises to the challenge in her own way, as do their parents, Mami (Laura) and Papi (Carlos). The novel unfolds back through time, a complete picture accruing gradually as a series of stories recounts various incidents, beginning with ``Antojos'' (roughly translated ``cravings''), about Yolanda's return to the island after an absence of five years. Against the advice of her relatives, who fear for the safety of a young woman traveling the countryside alone, Yolanda heads out in a borrowed car in pursuit of some guavas and returns with a renewed understanding of stringent class differences. ``The Kiss,'' one of Sofia's stories, tells how she, married against her father's wishes, tries to keep family ties open by visiting yearly on her father's birthday with her young son. And in ``Trespass,'' Carla finds herself the victim of ignorance and prejudice a year after the Garcias have arrived in America, culminating with a pervert trying to lure her into his car. In perhaps one of the most deft and magical stories, ``Still Lives,'' young Sandi has an extraordinary first art lesson and becomes the inspiration for a statue of the Virgin: ``Dona Charito took the lot of us native children in hand Saturday mornings nine to twelve to put Art into us like Jesus into the heathen.'' The tradition and safety of the Old World are just part of the tradeoff that comes with the freedom and choice in the New. Alvarez manages to bring to attention many of the issues-serious and light-that immigrant families face, portraying them with sensitivity and, at times, an enjoyable, mischievous sense.
Pub Date: May 1, 1991
ISBN: 0-945575-57-2
Page Count: 308
Publisher: Algonquin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: March 15, 1991
PROFILES
APPRECIATIONS
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