Victor Fet, a colleague with whom I have shared adventures in art and science, offers Alice and the Time Machine (Evertype, 134 pages, illustrated by Byron W. Sewell) on the 150 anniversary of the publication of Alice’s Adventures in Wonderland and the birth of H.G. Wells. The novella brings together Alice Liddell, Charles Dodgson (aka Lewis Carroll), John Dalton (of atomic theory fame), Charles Darwin, Francis Galton (Darwin’s half-cousin) and Wells, who arrives in Darwin’s time of 1862 from 1892 via a time machine. Together they determine that Alice’s mad tale is actually a message from the future, warning them of coming chaos, bloody wars, catastrophic pollution and tyranny. They form the Time Corps and use the time machine to contact scientists past and future to enlist their aid to try to change the world for the better. As they do their work, they notice changes in their own time. At the beginning of the tale, Wells is a nobody but becomes a famous science-fiction author while the other Wells fades in his memory as if a dream. Continue reading
How should we suppose poor Isaac felt — son of a father all-too-willing to sacrifice him at the suggestion of some voice in his head? Christians are wont to overlook the obvious horror and absurdity of the Biblical tale. According to some (less awful) Jewish interpretations of events, it was perhaps Satan, as an agent of God, who spoke to Abraham, which would make more sense to those who imagine God to be not quite so sadistic. Either way though, what kind of man would this traumatized son become? In Isaac: A Modern Fable (Permanent, 223 pages), Ivan G. Goldman has arranged it so that Isaac, after the mishap at the altar, has been granted the gift of eternal youth. The identity of benefactor is not clear; the gift may be from Satan or from Jehovah. Isaac himself has never been able to decide, as his immortality and eternal youth often seem to him like a curse.
Williams might have added that the third hardest thing to do is to write an original novel about baseball. Oh, it’s been done. But for every home run such as Ron Hays’ The Dixie Association or Ray Kinsella’s Field of Dreams, for every Bull Durham and The Natural, for every book by Ring Lardner, Jim Bouton and Lawrence Ritter, there are volumes of strikeouts. Continue reading
Gifted chronicler of American life, Jonathan Franzen offers a rather quiet plot in The Corrections (FSG, 568 pages), which follows the lives of the Lambert family headed by Enid and Alfred, typical Midwestern parents, whose children have scattered, eager to find their own definitions of happiness. The oldest, Gary, is a money manager, an asshole son, whose inner workings are described with surprising compassion; the middle son, Chip, is a lecherous and pretentious academic who’s just lost his position and his girlfriend and is working on an autobiographical screenplay that betrays a dreadful lack of self-awareness; the youngest, daughter Denise, is a talented chef who keeps throwing herself into undesirable relationships. Will they succeed? Is the aging patriarch going completely mad? And why is Alfred such an unhappy old man? Will Enid get all her children to come home for one last Christmas together?
It starts in adolescence. The questions come to you while lying in bed (certainly now with a growing awareness of your sexuality), the walls of your room expanding into endless grainy darkness, as if the room itself could encompass the entire world: why am I here, why is there anything at all?
The questions may haunt you at age 13 or 15 or 17, but by adulthood they tend to feel banal. Unanswerable, impossible, if taken seriously debilitating, they are in a word blinding, and so you tend to avert your gaze. But suppose you can’t, suppose the inviolable white light only draws you closer, to madness possibly, to paint or write or drink or pray (to what God, tell me?) almost certainly. And so perhaps you scribble, the pages of your notebooks filling with furious script, like eons of sediment piling into sad mute mountains no one else will ever excavate or carve or climb. Continue reading
This wry, touching novel, The Grievers (The Permanent Press, 175 pages), takes an intelligent look at the meaning of friendship, a distinctly pertinent topic in an age when “friend” and “unfriend” are ubiquitous verbs referring mostly to people we’ve never met. It’s a novel of ideas that also dares to be funny, a dangerous strategy when so many critics see humor as a crime against literature. After all, doesn’t serious writing demand uncompromising hopelessness and despair? Continue reading
St. Aubyn, like the characters in the novel, comes from a wealthy English family. He, like Patrick, was raped by his father as a child. He, like Patrick, is a recovering drug addict and alcoholic. Indeed, given the facts of St. Aubyn’s life, it is remarkable that he is alive and functioning, let alone that he writes brilliantly.