A third collection from Johnson (Distant Friends, 1990, etc.) offers 13 tight, knowing, well-told stories. The tales are set in the New South, a land of fallen aristocrats and upstart money. It's this incisive presentation of class that lends Johnson's work a certain caustic European tenor, making him sound sometimes like Chekhov, sometimes like Ibsen, often like Cheever or James. In ``A House of Trees,'' a drunken, unemployed father shakes his petulant son out of a tree, crippling him for life; in ``Hemingway's Cats,'' a honeymoon in the Florida Keys is complicated when the bridegroom's father shows up unannounced with some bad news for the bride; and ``In the Deep Woods'' features a financially overwhelmed father groping for recognition in front of an overly sensitive son, this time while hunting. Johnson doesn't limit himself to little boys' yarns, either: ``Scene of the Crime'' finds a daughter avenging herself against her materialistic mother, and ``Little Death'' explores the theme of abortion through the experiences of a homely teenager. The author also showcases an affection for the neo-gothic family so beloved of southern writers: ``Evening at Home'' opens with a minor kitchen accident and closes with a shared, silent sense of grief between father and daughter over how strange Mom has become. Johnson also works some artful variations on the theme of Catholic guilt. ``Sanctity'' dismantles the horrors of a parochial school, while ``Leavetaking,'' with its insightful summary of a crumbling young marriage, reads like early Updike. Then there are the booze stories, such as ``Last Night,'' in which a solitary drinker, who has just gone on the wagon, falls disastrously off when he's forced to spend time with his wine-swilling, duplicitous girlfriend. The Walker Percy-esque title piece is, unfortunately, the weakest, an excuse to muse existential on a chance movie-theater encounter. Exceptionally strong, confident writing from an author who shows his literary roots while gracefully blending ancient anxieties and modern concerns.
Pub Date: July 16, 1996
ISBN: 0-8018-5375-3
Page Count: 224
Publisher: Johns Hopkins Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 1, 1996
BOOK REVIEW
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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