book reviews Archive

Book of the Week: Charactered Pieces: stories by Caleb J. Ross

In the opening story of Caleb J. Ross’ new collection, the main character invents the term charactered pieces as a euphemism for diamonds with obvious cracks and flaws. In many ways Lori is a charactered piece herself – mostly due to the foot of her fetus-in-fetu sister that protrudes from her belly. Then of course there is mom, a bit of a flawed gem herself, who had half-her face blown off in a beer-commercial mishap. Yet, she seems convinced that somehow all the defects can be covered up, if only by glops of makeup.

That opening tale served as a nice introduction to the off-kilter, macabre, black-sense of humor that made me instantly like most of the stories in Charactered Pieces. The people who stumble and wander through Ross’ stories, much like Lori’s diamonds, have obvious flaws, glaring even. It’s an ugly humanity but one that’s too real to dismiss. Take the divorced, ex-drug-addict, father who slaves away as the lone gringo in a Chinese kitchen. He’s too angry, too bullheaded, and too self-centered to take responsibility for his mistakes. He views them as unavoidable obstructions that he had no more control over than the snow storm that starts a series of unfortunate events. As he says midway through the tale, “Mother Nature doesn’t want a person to live.” Where Ross keeps this from becoming cliché is his compassion for the characters. There is beauty in the flaws, or at least humanity.

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Book of the Week: Await Your Reply by Dan Chaon

Who are you really? Is your identity static or can you slide in and out different personas like a snake shedding skin? If you can, do you lose any sense of who you really are? And ultimately, what are the consequences of all this reinventing of identity?

In age where our personas, who we project ourselves to be on social networks and blogs, don’t always match the truth, Await Your Reply cuts straight to the bone (as you’ll see by the opening chapter), getting underneath our collective skins. Like a puzzle box that you slowly unravel, the novel digs deep into those questions. I don’t loosely throw out the term ‘Hitchcockian’ as it carries great expectations, but the book is just that. As I read Dan Chaon’s novel, I kept thinking to myself, “This is Vertigo.” Imagine Hitchcock’s Vertigo expanded out to include three lost souls all wrapped up in separate intrigues that ultimately involve shedding their personas. That’s not to say that Chaon is ripping off Alfred, he’s just taking a cue from the master and crafting his own wonderful web of lies, deceit, trickery, violence, and murder. From the first chapter you’re hooked and can’t wait to dig deeper.

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Book of the Week: The Strangers in the House by Georges Simenon

It is a testament to Simenon’s quirky way of crafting a novel that when reading The Strangers in the House, one finds the actual solving of the mystery as the least interesting part of the novel.

Simenon took an interesting approach to his novels to say the least. He would often start out by writing everything he knew about his main characters on the backs of envelopes. Simple things: where do they live, what do they do for a living, who is in their family. Case in point, Hector Loursat, the protagonist of The Strangers in the House. At the beginning of the novel, we learn that Loursat is:

  • An abandoned husband (his wife having left him for a lover 18 years ago)
  • A father (and not a very good one to his only daughter)
  • A slob (who walks about the house in his soiled smoking jacket)
  • A drunk (who goes through several bottles of burgundy a day)
  • And a recluse (who has not left the confines of his bedroom nee study in many years)

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Book of the Week: Dusk and Other Stories by James Salter

Dusk and Other StoriesIt is a sad commentary on the state of the short story when a collection such as this is allowed to go out of print. After all, Dusk and Other Stories did win the PEN/Faulkner award when it was first released in 1989. And this collection did become a textbook for dedicated short story writers — maybe not as popular with the general reading public as Carver’s What We Talk About When We Talk About Love, but more of an insider’s pick, like the films of Sam Fuller. The sad fact is that I had to read a photocopy of one of the out-of-print editions that someone was gracious enough to loan me.

The main reason short story writers gravitate towards this book is the prose. Short, punchy and poetic. Salter can say more about a character in a few sparsely worded sentences than most writers can in an entire chapter. Salter wasn’t just hacking away at his sentences for pure economy, he was pairing down his prose to its barest bones, leaving only what he felt was utterly necessary. When writing coaches and teachers scribble “show don’t tell” or “don’t over-write” on countless stories, they are trying to turn their protégés into Salter. A character’s actions speak volumes. A few lines of dialogue become an entire biography.

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Book of the Week: The Death of Bunny Munro by Nick Cave

The Death of Bunny MunroWhat a difference twenty years makes. Nick Cave’s first novel, And the Ass Saw the Angel, which was released in 1989, opens with:

“Three greasy brother crows wheel, beak to heel, cutting a circle into the bruised and troubled sky, making fast, dark rings through the thicksome bloats of smoke.”

His new novel, The Death of Bunny Munro, released in 2009, strikes a slightly more minimalist note with its first sentence:

“I am damned, thinks Bunny Munro in a sudden moment of self-awareness reserved for those who are soon to die.”

Much like comparing his dark, brooding, classic early music to the simpler, more straightforward approach of his later albums, the author’s two books really are the work of two completely different Nick Caves. How can you possibly match the younger songwriter who so perfectly channels the final anguish of a condemned man on “The Mercy Seat” with the sarcastic older gent who has a laugh at the expense of the Bible’s most notorious zombie on “Dig, Lazarus, Dig!!!”? It would be an exercise for the Cave-obsessed and does the man no justice. To expect the author to write in the same style as he did in 1989 makes no sense.

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Book of the Week: The Red Album of Asbury Park by Alex Austin

Having been born and raised in New Jersey, I’m often asked by non-Jersians, “What was it like?” I usually get odd stares when I respond with, “Like the circus left town.”

There is a sadness to New Jersey. If you’ve lived there you know what I’m talking about. It’s hard to see past the state borders. Things outside of New Jersey just don’t seem possible. Maybe that is why, too often, people never leave New Jersey. They usually wind up just staying put, residing two towns over from where they grew up, still hanging out with the same high school friends. As they get older, their worldview may expand, but often it’s too late. New Jersey has them. To leave it all behind would be to rip themselves from the womb. I was lucky enough to leave when I was 18. Looking back on those that didn’t, I realized that was the sadness of New Jersey: being trapped in place that never offered much promise to begin with. Seeing it now, it always feels like the circus just left town, a pale memory of it drifting down the turnpike.

That sense of sadness is all over Alex Austin’s The Red Album of Asbury Park. It is in the setting: Springsteen-land in the late 1960s, a once thriving seaside getaway, now a rundown hulk of decaying buildings, degenerates, dive bars, thieves, decrepit amusements, gangsters, and junkies. (Go there now and you’ll see not much has changed, except the amusements are gone). It is also in the main character. Vet Sam Nesbitt has just come back from Vietnam. He’s one of the lucky ones. The horrors of war have given him a worldview that goes beyond Ocean Avenue. He wants out. He wants to make something of himself, to escape the ghosts of days past, and not become another lost cause walking the streets of Asbury Park. That’s more than once can say of his binge-drinking mother, his deceased father (who had his own secrets), and his unmotivated brother (or perhaps just motivated in the wrong directions).

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Book of the Week: The Man Who Watched Trains Go By by Georges Simenon

He was a quiet man. That’s what they always say about the guy who one day picks up an axe and wipes out the whole family. Kees Popinga, the central character of Georges Simenon’s The Man Who Watched Trains Go By, is just such a fellow. He’s got everything dialed nice and tight. He’s obsessed with having constructed a first rate life: a wife, a daughter, a stove, and a house all of the “highest quality.” And then in the course of one evening, as Popinga discovers that the company that helped provide this postcard-perfect life is now bankrupt, it all goes to pot. Kees Popinga snaps, kisses his whole life goodbye in one bold stroke, and embarks on a violent spree that leads him across three countries and makes him the killer du jour of the European press.

Thus, Simenon rendered one of his best roman durs, or hard novels, so named because they involve uncomfortable situations. The pacing of the novel is impeccable; Simenon allows the reader no breathing room. Perhaps it was due to the fact that The Man Who Watched Trains Go By was Simenon’s eleventh novel published in 1938. That’s right, eleventh. Simenon’s reputation for cranking out the prose is almost unparalleled. His record was 40 novels published in 1929 (all written under various pseudonyms according to Luc Sante’s introduction). Once Popinga has made up his mind to leave his old life, we are dragged by the shirt collars along with this once simple man, as he drifts further and further into madness. The bodies start to pile up and in no time, Popinga has changed from an accidental madman to a cold-calculating psychopath.

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Book of the Week: The Rebels by Sándor Márai

I was lucky enough to read Sándor Márai’s The Rebels while traveling through Budapest, Bratislava, and Prague. This was part of my standing rule of reading a novel from the country you are visiting while traveling. In paid off well with Stevenson in the UK and Strindberg in Sweden. It did not serve me well with Bowles in Morocco. In the case of Márai it was a perfect fit. Having had my feet on the ground, mangling the Hungarian language in my worst attempts at communicate with the locals, I experienced the feeling of Budapest for myself.

There is a mellowness and peace to Hungarians these days. It may be due to the fact that until recently, Hungary was constantly being conquered by one empire or military power after another. The Turks, Habsburgs, Nazis, and Stalinists all took their turn. For a brief period, leading up to and into World War I, Hungary merged with Austria, forming the second largest country in Europe. However, the defeat of the central powers in World War I, including Austria-Hungary, lead to 70 years of dark days for the country. It is at that stumbling point — Austria-Hungary’s entry in the war — that Márai sets the book, having experienced first hand the embarrassing (for Hungarians) dissolution of the dual monarchy and its multi-ethnic society.

I state all this not to drone on about trivia, but to point out the context of The Rebels and the historical reality of what Márai experienced at the time of the writing the novel. For some reason, Americans don’t seem to ‘get’ The Rebels. I’ve seen reviews where readers say the book is too foreign to enjoy, have labeled Márai as anti-Semitic and homophobic, and even more absurd, state that they cannot relate to the characters because they are all adolescent males. Take that Holden Caulfield. These sad misperceptions of The Rebels cause these readers to miss out on what is a superb novel. Dated, perhaps. Esoteric to western culture? No more than any Russian novel. Anti-everything-under-the-sun? Considering that Márai pined for multi-ethnic and multi-cultural Hungary in his Memoir of Hungary, was highly critical of the Nazis (a dangerous stance under the Arrow Cross Government), and soundly against the subsequent puppet-communist regime installed by Stalin, it is very doubtful the book has a prejudice against anything except oppression and senseless death.

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Book of the Week: Unlucky Lucky Days by Daniel Grandbois

I was on vacation in San Francisco recently and one of the necessary items on my to-do list was a pilgrimage to City Lights Books. While perusing the shelves, I spied a signed copy of Daniel Granbois’ Unlucky Lucky Days. Knowing the man’s name and having heard great things about him from trustworthy people, I decided to plunk down some hard-earned cash.

Grandbois gave me my money’s worth. Even though it is a slim book at 117 pages, Unlucky Lucky Days is packed with 73 short tales. The longest maxes out at three pages, the shortest three sentences. Each one shows a writer so comfortable in his own skin, that he appears flawless at times. Granbois plays around with characters and prose in unique and inventive ways, creating his own genre of absurdist fiction populated with dead (or soon to be dying) humans, living everyday objects, and sentient wild creatures. There are mirrors that long for a different perspective, revenge-seeking middle fingers, and storytelling balls of yarn, all of whom live and breathe as much as any of the human characters in the book.

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Book of the Week: The Metamorphosis by Franz Kafka

Endlessly dissected, ripped apart, its guts laid out on a slab, sewn back together, reconstructed, reinterpreted, misunderstood, misinterpreted, parodied, plagiarized, overanalyzed, and sadly sometimes underappreciated. Kafka’s The Metamorphosis is one of those jumping off points for modern literature, a key touchstone where so many good writers — Borges, Nabokov, García Márquez – found inspiration in his work and studied it like a textbook on great writing.

But what is the metamorphosis? A dark fantasy about a man who wakes up one day to find himself transformed into a vile insect-like creature? Or an absurdist tale of a schizophrenic who believes he’s been turned into a human-sized beetle, terrorizing his family with his decrepit mental state? Kafka left that open for us to decide, even asking his original publisher to remove any imagery involving an insect off the cover. The first edition cover (you can find it on Wikipedia) is not a definitive statement on the story either. Is it the afflicted Gregor Samsa we see or his unnerved father fleeing from the sight of the creature in his son’s room? As it was written in German, Kafka never definitively stated what Gregor had become. The term he used, in what has now become one of the more famous opening lines in literature, to describe Gregor’s transformation was “ungeheueres Ungeziefer,” which literally means “unclean animal not suitable for sacrifice.” This has been translated (and mistranslated) as “gigantic insect” in some cases, but in later years, more translators have settled on “monstrous vermin,” as this seems to suit Kafka’s vague intent much better. But if you want to read the numerous theories, Google the book. I’ll leave it to those who are far more and far less philosophical than I.

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