Essential, deeply satisfying fiction from one of the least known of the 20th-century’s greatest writers.
An important collection of 17 stories and (brief) novellas, all written between 1916 and 1940 by the Austrian writer whose superb novels (including The Silent Prophet and The Radetzky March) rank among the finest rediscovered fiction of recent decades.
Roth (1894–1939), a Jew born in Galicia, spent much of his brief life in exile, from the rise of Nazism and from his own ironist’s awareness of rigidly ordered old “worlds” collapsing (such as that of the Austro-Hungarian monarchy). Accordingly, his stories concentrate on ambitions unfulfilled and loyalties betrayed, as in the limpid “Barbara”(about a loving woman who means nothing to the men in her life, including the son for whom she sacrifices herself), and “April” (which might have been written by a clinically depressed Turgenev), about a young man on the make who quite casually moves on after his dalliance with a girl who’s too fragile to live. Roth’s genius for brisk characterizations and urgent empathetic voice effortlessly solicit our identification with such wounded and searching characters as the elderly nobleman (of “The Bust of the Emperor”) who continues to perform dutiful acts of charity even after a ruthlessly efficient (Polish) “republic” renders his commitment to noblesse oblige obsolete, and the eponymous protagonist of the Flaubertian “Stationmaster Fallmerayer,” whose romantic obsession with a Russian countess injured in a train wreck slowly, surely detaches him from all his responsibilities and relationships: it’s a compact tragedy of passion concentrated into a harsh, unforgettable 20 pages. Best of all is Roth’s last completed novella “The Leviathan,” about a coral merchant engrossed in a sustaining fantasy suggested by the curious exotic life forms that provide his livelihood, and eventually tempt him to ruin. It all turns on a masterly metaphor for the fragility of a life “that had not been linked to that of any other human being in this world.”
Essential, deeply satisfying fiction from one of the least known of the 20th-century’s greatest writers.Pub Date: Feb. 1, 2001
ISBN: 0-393-04320-7
Page Count: 400
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 15, 2001
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
Carefully worked tales that are as good as many and better than most.
A first collection from Irish-born Keegan spans the Atlantic, touching down in rural Ireland and the southern US—with results often familiar or stretched-for, yet deftly done and alluringly readable.
In the title story, a happily married woman wants to find out what it’s like to have sex with someone else—and does so indeed, in a psychological clunker that crosses Hitchcock with O. Henry while remaining ever-intriguing to the eye. A near-wizardry of language and detail, too, closes the volume, with “The Ginger Rogers Sermon,” when a pubescent girl in Ireland, sexually curious, brings about the suicide of a hulking lumberman in a tone-perfect but morally inert story. In between are longer and shorter, greater and lesser tales. Among the better are “Men and Women,” about a suffering Irish farmwife who at last rebels against a cruelly domineering husband; the southern-set “Ride If You Dare,” about a couple who shyly meet after running personals ads; and “Stay Close to the Water’s Edge,” about a Harvard student who despises—and is despised by—his millionaire stepfather. Psychologically more thin or commonplace are “Storms,” told by an Irish daughter whose mother went mad; “Where the Water’s Deepest,” a snippet about an au pair afraid of “losing” her charge; or “The Singing Cashier”—based on fact, we’re rather pointlessly told—about a couple who, unbeknownst to their neighbors, commit “hideous acts on teenage girls.” Keegan’s best include the more maturely conceived “Passport Soup,” about a man devoured by guilt and grief after his daughter goes missing while in his care; “Quare Name for a Boy,” in which a young woman, pregnant by a single-fling boyfriend whom she no longer has an interest in, determines that she’ll go on into motherhood without him; and the nicely sustained “Sisters”—one dutiful and plain, the other lovely and self-indulgent—who come to a symbolically perfect end.
Carefully worked tales that are as good as many and better than most.Pub Date: July 1, 2001
ISBN: 0-87113-779-8
Page Count: 208
Publisher: Atlantic Monthly
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2001
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