Bradbury on autopilot, mostly, mixing dashes of beautiful whimsy with gold-tinged nostalgia and the occasional sharp stab of...
Forgotten or mislaid short fictions from a master who’s given us better, but also much worse.
Bradbury (Let’s All Kill Constance, 2002, etc.) says here that after the death of his wife, Maggie, he lost, for the first time in decades, the will or ability to write: a shocking statement from this almost comically prolific writer. Fortunately, the spell passed, and Bradbury continues to pounce on every little germ of an idea he sees. This is a collection like many of Bradbury’s recent ones, a hodgepodge of mostly realistic stories that occasionally dabble in magic, though there are more of the everyday kind, with precious little of the highly adventurous and moralistic science fiction that put Bradbury in the literary firmament. Happily, though, while several pieces are new, a good part of the book is made up of long-forgotten and unpublished selections from the author’s most fecund period, the late 1940s and early 1950s. Some entries are overwrought racial allegories, like “Chrysalis,” where a white boy finds he’s discriminated against just as much as his black friend when he gets a serious suntan. A more successful attempt is “The Transformation,” about a southern man who’s kidnapped in the middle of the night by some circus people out to avenge his complicity in a disgusting crime (hint: one of them is a tattooist). One newer story, a fling of media-addled satire, “The John Wilkes Booth/Warner Brothers/MGM/NBC Funeral Train,” makes an earnest leap at the modern world’s penchant for regurgitating the past for commercial ends, although it falls apart in a ramshackle fashion. A genuine a work of art, however, is “The Island,” a perfect bit of shadowy horror about a paranoid family in a remote house, each member fully armed in his own locked room, and what happens when an intruder enters: truly haunting, lit with a dark insight.
Bradbury on autopilot, mostly, mixing dashes of beautiful whimsy with gold-tinged nostalgia and the occasional sharp stab of pain.Pub Date: July 1, 2004
ISBN: 0-06-058565-X
Page Count: 256
Publisher: Morrow/HarperCollins
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 2004
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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