Consummately well-written, stylistically dashing, but lacking a commitment to engage with the trickier dilemmas of race,...
The latest in Oates’ (Beautiful Days, 2018, etc.) vast bibliography further explores the tense dynamic between lust and revulsion that has been the terrain of much of the author's recent work.
The characters who wince through this intimate, unrelenting collection are people who live on the periphery of larger lives. We meet a frustrated faculty wife whose identity has been eclipsed by both her husband and his lovely female students (“The Long-Legged Girl”); a teenage boy whose lusts are baffled by the double-speak of an adult world that castigates him even as it draws him in (“Sign of the Beast”); a mistress waiting in doubled yearning and disgust for her brutish lover’s arrival (“The Woman in the Window”). A longtime master of the unreliable narrator, Oates lures the reader into compacts with characters whose sympathies turn out to be warped or downright murderous. Is the pitiable L____ in “Walking Wounded” excising snippets of sadist eroticism from a scholar’s posthumous work, or is he creating them in his own active life? Is the grown son in the title story the victim of his father’s paranoid madness or the inheritor of his infectious damnation? In the most challenging story of the collection, “The Experimental Subject,” Oates details the scientific process by which N____, a senior lab technician at a prestigious university, woos the unwitting woman who will gestate the first human/chimpanzee hybrid fetus. N____, who is described as having “the advantage of invisibility that is the particular prerogative of his species: deceptively bland Asian face, wire-rimmed eyeglasses, short-cropped very black glossy hair,” chooses the dim, hopelessly naïve Mary Frances for her isolation, her vulnerability, her “stolid mammalian figure,” and her coincidental likeness to the chimpanzee sperm donor who fathers her child. It is a fever dream of a story—forthrightly nightmarish—which gleefully transgresses the boundaries of identity politics in favor of the earthiest of human truths, and yet there is very little work done to examine the moral implications of the situation from the other side of those boundaries. As with many of the stories in the collection, “The Experimental Subject” ends in a flurry of unlikely action, signifying not so much character or plot resolution as the author’s weariness of the situation in which her characters have been embroiled.
Consummately well-written, stylistically dashing, but lacking a commitment to engage with the trickier dilemmas of race, class, and gender Oates uses to motivate her plots.Pub Date: June 5, 2018
ISBN: 978-0-8021-2810-2
Page Count: 352
Publisher: Mysterious Press
Review Posted Online: March 19, 2018
Kirkus Reviews Issue: April 1, 2018
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.
Are we not men? We are—well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z(2006).
A zombie apocalypse is one thing. A volcanic eruption is quite another, for, as the journalist who does a framing voice-over narration for Brooks’ latest puts it, when Mount Rainier popped its cork, “it was the psychological aspect, the hyperbole-fueled hysteria that had ended up killing the most people.” Maybe, but the sasquatches whom the volcano displaced contributed to the statistics, too, if only out of self-defense. Brooks places the epicenter of the Bigfoot war in a high-tech hideaway populated by the kind of people you might find in a Jurassic Park franchise: the schmo who doesn’t know how to do much of anything but tries anyway, the well-intentioned bleeding heart, the know-it-all intellectual who turns out to know the wrong things, the immigrant with a tough backstory and an instinct for survival. Indeed, the novel does double duty as a survival manual, packed full of good advice—for instance, try not to get wounded, for “injury turns you from a giver to a taker. Taking up our resources, our time to care for you.” Brooks presents a case for making room for Bigfoot in the world while peppering his narrative with timely social criticism about bad behavior on the human side of the conflict: The explosion of Rainier might have been better forecast had the president not slashed the budget of the U.S. Geological Survey, leading to “immediate suspension of the National Volcano Early Warning System,” and there’s always someone around looking to monetize the natural disaster and the sasquatch-y onslaught that follows. Brooks is a pro at building suspense even if it plays out in some rather spectacularly yucky episodes, one involving a short spear that takes its name from “the sucking sound of pulling it out of the dead man’s heart and lungs.” Grossness aside, it puts you right there on the scene.
A tasty, if not always tasteful, tale of supernatural mayhem that fans of King and Crichton alike will enjoy.Pub Date: June 16, 2020
ISBN: 978-1-9848-2678-7
Page Count: 304
Publisher: Del Rey/Ballantine
Review Posted Online: Feb. 9, 2020
Kirkus Reviews Issue: March 1, 2020
BOOK REVIEW
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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