Masud’s compelling, sometimes obscure stories do not always fully reward the reader’s attention. But they’re usually as hard...
Cryptic suggestiveness dominates 11 stories gathered from three collections by the Indian author (who writes in Urdu) of Essence of Camphor (2000).
As we learn from the translator’s Introduction (itself fairly opaque), Masud is both a scholar of Persian and Urdu and a renowned translator of Kafka. The great Czech writer’s influence is felt throughout, especially in the rigorously compressed tale (“Resting Place”) of a nameless wanderer invited to become one of a welcoming household’s “priceless objects,” and the superb “Custody,” about a village shop whose successive proprietors succumb to madness, the (again unnamed) narrator who undertakes to run it and raise two apparently orphaned baby girls and a complex local history that expresses the truism that “one has to endure everything.” Stoical forbearance also characterizes the aging man whose increasing memory loss is temporarily arrested when he recalls a charmingly sociopathic family friend (“Allam and Son”); the clerical worker whose fortunes vacillate during ownership disputes over “The Big Garbage Dump” located inside a lavish domicile; and the house inspector whose thwarted love for his sister-in-law (and aunt) leads him inexorably toward a paralytic madness (“Obscure Domains of Fear and Desire”). Images that recur through several stories (a sheltering, perhaps smothering tree; an inchoate jungle bordering a cleared village; the limited efficacy of healers) intensify an overpowering impression of fatalism that’s perhaps best expressed in the eerie title story, an enigmatic parable of the danger inherent in nature, fear of the unknown and the inevitability of death and change; and the terse, limpid “Lamentation,” whose narrator finds in the “wasteland communities” he explores both a spectrum of indigenous responses to mortality and a summons he cannot ignore.
Masud’s compelling, sometimes obscure stories do not always fully reward the reader’s attention. But they’re usually as hard to forget as they are to comprehend.Pub Date: Feb. 1, 2006
ISBN: 1-56656-629-0
Page Count: 328
Publisher: Interlink
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Dec. 1, 2005
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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