A versatile, prolific author asserts his pre-eminence in short fiction with an unassuming brilliance that almost makes you...

MR. BONES

TWENTY STORIES

After more than 40 years of publishing short stories, Theroux has become a master of the form, with a deep capacity to engage, enchant and unsettle.

There’s something almost quaint—and ultimately gratifying—about the manner in which Theroux’s stories rely on irony, circumstance and character motivation while retaining their inscrutability. It’s a quality shared by all the great modern storytellers, from Chekhov to Cheever, and Theroux, better known for his witty, idiosyncratic travelogues, can claim their legacies as his own. What connect most of the 20 tales are characters getting even, getting back or just “getting theirs” at the expense of someone who may, or may not, deserve reprisals. In the case of “Rip It Up,” a chillingly prescient story of junior high outcasts collaborating on an explosive device to set off against their tormentors, the outcome yields disorienting, unexpected and ambivalent results. The same holds true for “I’m the Meat, You’re the Knife,” in which a writer returns home for his father’s funeral and uses the occasion to torment a former teacher, now a helpless patient in a convalescent center, with stories suggestive (but never explicitly so) about past abuses by the teacher against the student. Outside of “Our Raccoon Year,” a tale of an over-the-top war against nature that seems a miniature version of Theroux’s best-known novel, The Mosquito Coast, the macabre and absurd elements of Theroux’s stories are more affecting for being rooted in the commonplace and the plausible. Even the shoe salesman in the title story who appears to veer into the deep end by indulging in blackface minstrelsy is depicted as someone you might have known or heard about while growing up. Such characters seem so odd but true that, in the same way he makes exotic locales worth visiting, Theroux inspires you to wonder what you’re overlooking when encountering friends, neighbors and strangers alike.

A versatile, prolific author asserts his pre-eminence in short fiction with an unassuming brilliance that almost makes you think stories will become popular again.

Pub Date: Sept. 30, 2014

ISBN: 978-0-544-32402-2

Page Count: 352

Publisher: Houghton Mifflin Harcourt

Review Posted Online: June 16, 2014

Kirkus Reviews Issue: July 1, 2014

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THE COMPLETE SHORT STORIES OF ERNEST HEMINGWAY

THE FINCA VIGIA EDITION

What's most worthy in this hefty, three-part volume of still more Hemingway is that it contains (in its first section) all the stories that appeared together in the 1938 (and now out of print) The Fifth Column and the First Forty-Nine Stories. After this, however, the pieces themselves and the grounds for their inclusion become more shaky. The second section includes stories that have been previously published but that haven't appeared in collections—including two segments (from 1934 and 1936) that later found their way into To Have and Have Not (1937) and the "story-within-a-story" that appeared in the recent The garden of Eden. Part three—frequently of more interest for Flemingway-voyeurs than for its self-evident merits—consists of previously unpublished work, including a lengthy outtake ("The Strange Country") from Islands in the Stream (1970), and two poor-to-middling Michigan stories (actually pieces, again, from an unfinished novel). Moments of interest, but luckiest are those who still have their copies of The First Forty-Nine.

Pub Date: Dec. 2, 1987

ISBN: 0684843323

Page Count: 666

Publisher: Scribner

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Nov. 15, 1987

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THE THINGS THEY CARRIED

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

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