A first collection, from the author of L.C. (1987) and The Colorist (1989), brings together 15 fictions, some of which have appeared in the edgier small-press mags, which is not surprising given the postmodern play of ideas that defines most of Daitch's work. Many of the meta-level narratives here, full of references to pop culture and cinema, are fundamentally lifeless, more concerned with notions of art and interpretation than with telling stories. Two exceptions stand out from a relatively dire bunch. In the long story ``Doubling,'' a courtroom artist is visited by her cousin from Italy, who slowly takes over her apartment and sets up shop as an art forger. The two become partners, eventually inventing a lost artist whose work they churn out for European art markets. Equally intriguing is the title piece, set in a Lake George theme park, where young people act out roles from children's books. While both stories play with the relation between art and reality, they also rely on character and texture, which can't be said for many of Daitch's deliberately more abstract pieces, including a series of very short takes on print culture in France, a dialogue between Walter Benjamin and Bertolt Brecht, and a triptych including descriptions of a mutilated painting by Correggio, massacred bodies in El Salvador, and the Soviet exhibit at the 1939 World's Fair. Many of Daitch's self-reflexive narratives concern the fringes—and substrata—of the art world. A number of them take off from real and imaginary historical episodes: Eleanor Marx's trip to the States; Oscar Wilde in Coney Island; spies and conmen in Barcelona during the Spanish Civil War. At her worst, the author plays with some Burroughs-like techniques, randomly quoting from newspapers or simply itemizing surreal images. Daitch explores the nature of art and the meaning of defacement, destruction, and duplication in fictions that invite their own deconstruction.
Pub Date: April 20, 1996
ISBN: 1-56478-094-5
Page Count: 192
Publisher: Dalkey Archive
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 15, 1996
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
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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