Three Dialogs about Ron Maclean’s Three-Part Short Story Collection, We Might as Well Light Something on Fire (Braddock Avenue Books, 179 pages):
I. goats, rabbits, etc.
We’re going to talk about we might as well light something on fire .
Right. You know the writer?
Is he brave?
I was never in combat with him. Why do you ask?
Guy writes a really far out book called we might as well light something on fire, some smartass will say, right, let’s start with this book.
That would be an incendiary insult to one of the most original collections I have ever read. How do you want to proceed?
Section by section, one of the three sections for each meeting, and concentrate on one story. Continue reading
“Every time the flight I’m on takes off. Or if I can hear a flight take off.” – From “Come As You Are,” in Harper’s “Readings,” April, 2019. From accounts of nonsexual orgasms documented in “Orgasm Range and Variability in Humans: A Content Analysis.” Study published in The International Journal of Sexual Health, November, 2018
Flights (Riverhead Books, 403 pages) is a fascinating, while quirky, eccentric book, often factual, non-fictional, often clearly fictional. The fiction is mixed in with the fact to the point that you sometimes cannot tell which is which. The ‘I’ narrator informs us early on that she
“started writing a book. It was a story for travelers, meant to be read on the train—what I would write for myself to read.” She continues as follows: “I was able to concentrate and became for some time a sort of gargantuan ear that listened to murmurs and echoes and whispers, far-off voices that filtered through the walls. But I never became a real writer . . . . In my writing, life would turn into incomplete stories, dreamlike tales, would show up from afar in odd dislocated panoramas, or in cross sections—and so it would be almost impossible to reach any conclusions as to the whole.” Continue reading
If you choose to read this book, to visit this Hotel, you will find it to be finely crafted by photographer Michel Varisco and writer Tom Whalen into a labyrinth of stairways and passageways of uncertainty, mystery, and intrigue, along which there are scattered bread crumbs, enticements, clues and innuendo that will take you down corridors that you hope will lead to your room. Henry Green described good prose as a “gathering web of insinuations.” Once you check in, whatever past you may have had will become a forgotten dream and then time itself will become inverted, then finally cease to have any meaning at all. Continue reading
To describe a book as unclassifiable is, of course, to classify it, but that fact is entirely in keeping with the spirit of Jacob Smullyan’s Errata (Sagging Meniscus, 72 pages). Comprising thirty short chapters of mini-essays, stories and philosophical aperçus, it straddles numerous genres and grapples with the process of making sense.
“All were in sorrow, or had been, or soon would be.” (Roger Bevins III, p. 304)
Okay, so what happens when we die? Writers of fiction have been peering across into that unfathomable abyss from time out of mind. You might even say that this is what great fiction writers do: they look at the grand questions, and especially at immortality, or the lack thereof.
George Saunders’ rather ironic take on the afterlife (Lincoln in the Bardo, Random House, 343 pages) goes roughly like this: after death some of us get caught up in the fulgurant thing called “the bone-chilling firesound” of the “matterlightblooming phenomenon.” Amidst lots of explosions and smashing to smithereens—imagine something like the shoot-em-up-blow-em-up special effects of Hollywood—this phenomenon transports us off to . . . well, the author never tells us exactly where. Is it a nice place? That’s a good question. At times there are suggestions that it might be fine, but only for the better-behaved of human beings in their fleshy existence, and not even for all of them. Continue reading
This tale of the inner workings of city politics in Philadelphia, Worthy of This Great City (Jam Publishing, 249 pages), is what you might term an impressionistic novel. Meaning that it consists of a plethora of descriptions of people and scenes with very little progression of plot. The reader steps back from the many colored dots and contemplates the thing as a whole, and that’s when it begins to come into focus.
Teeming with characters who play minor roles, the book has essentially only two main characters. The first of these is Constantine Manos, an investigative journalist, who is doing a feature article on the second, Ruth Askew, a radio personality on a local station and the wife of Councilman Thom Askew. Continue reading
Sea of Hooks (McPherson & Co) was nominated by Barbara Roether, author of This Earth You’ll Come Back To. In her review of Hill’s unusual novel, Roether writes,
There is a paradox that floats through the Sea of Hooks, which is that the experience of reading it is almost the opposite of how it is written. That is to say, while the story is told in its short collage-like segments, their effect is an almost seamless classical narrative. The way sections move from multiple perspectives, dreamtime, real-time, then meld together with such cohesive and penetrating storytelling, is a testament to the author’s insightful eye for detail and character.