The Nervous Breakdown’s Review Microbrew, Volume 3By Kurt Baumeister
August 31, 2016
Whether we’re talking about simple book reviews, hardcore literary criticism, or even the deathsport-cum-puffery that goes with writing workshops, it’s easy to make literary opinions about yourself rather than the work at hand. There are a lot of different ways this can happen in reviewing. Some of the more common:
1. The dispensation of ham-fisted writing truisms (show, don’t tell; adverbs must die; etc.)
2. The shared personal anecdote, loosely related at best (My word-slinging panda Grimwald brings me a sonnet every night. But you didn’t. And that’s why this is the most horrible dreck I’ve ever read.); and
3. Conscious mockery, the review designed (through wit, derision, and pithy prose) to show how much better you are than the foolish mortal whose book you’ve deigned to review. (There’s this guy on Goodreads…Actually, there are like three hundred of this guy on Goodreads, but you get the idea…)
I suppose I have a little luxury in the books I review. No one at TNB tells me what to cover, when to read them or where. I just do then say what I think. Simple, right? But not so, not really.
So many of the most famous examples of criticism come from hating a book or an author with a passion, from using that passion and what skill you may have to pen a take-down readers will remember. The goal is perhaps not always to make oneself sound good, but certainly, at the very least, to make the writer or work under discussion sound very bad.
For me, today, book reviewing has less to do with put-downs, more to do with empathy. As a critic, I think you need to be a bit of a chameleon, able to envision each book not just from your own perspective (the white tower of your five-star, ten-point, or four-heart rating scale) but from the standpoint of that book’s best reader, the person the book is intended for even though neither they nor the author have any idea they exist. Rather than the infallibility we sometimes pretend to, book reviewing seems to me a matter of art and hope, maybe even something a little like a prayer. A wish, at least, that the books we’ve chosen will find their best readers, whoever and wherever they are.
Dating Tips for the Unemployed by Iris Smyles
Powered by failures real and imagined, copious amounts of pot and booze, the seemingly ever-present threat of masturbation, and topics way more outré than these, Dating Tips for the Unemployed is a charming (yes, charming!), bravura performance by a writer whose comic chops, literary inventiveness, and crisp prose produce the smoothest of literary smoothies, something like a cocktail of Dorothy Parker, James Joyce, and Philip Roth iced, sweetened, and blended.
Reading Smyles it almost seems impossible that someone could pack this much goodness into one book. Never giving up intelligence for readability, or wit for cheap laughs, this is a slim volume I had to struggle to put down. Perhaps it’s the narrator’s youth, perhaps her emotional and intellectual honesty (cut as it is with humor); whatever the case, these pages race by, their words nonetheless filling your thoughts long after you’ve set aside Dating Tips for the Unemployed.
From summering in Greece to being busted flat in wintry Manhattan, Smyles somehow punctuates the troubles of youth with a philosophy that mixes sarcasm and nihilism but does it in a way that never gets too heavy. Constructed as an expression of polar opposites, Dating Tips for the Unemployed is an attempt to explore the world that is Iris Smyles and perhaps, in its finely chiseled structure, even an attempt to understand it. Whether this story amounts to fiction, nonfiction, or something in between ultimately doesn’t matter. The key point is engagement: the fact that you’re sure to be smitten as I was with the work of this wildly funny literary misanthrope.
United States of Japan by Peter Tieryas
Peter Tieryas’s third book, United States of Japan (USJ) is an homage to the work of Philip K. Dick, a fact Tieryas freely admits. Primarily concerned with reimagining the core conceit of The Man in the High Castle—the Axis having emerged victorious in World War II, America has become a partitioned land, one divided between Japanese and Nazi rule—Tieryas has created a broader tribute to Dick by sprinkling elemnets of his most famous conceits throughout. Still, to label USJ a PKD knock-off would be grossly unfair. Tieryas’s novel stands on its own as a fast-paced, whimsical, disturbing, reflective, and at times even poignant trip through a world very different from our own, one nonetheless similar enough to be terrifying in its implications.
In USJ, Tieryas brings us a broad temporal picture of what the post-American world might have looked like. Spanning the Pacific War’s end in 1948 through the 60’s and on to the late 80’s, USJ is the story of game developer and censor, Beniko “Ben” Ishimura, once a resident of an American concentration camp, now a captain in the Japanese army. Central to the book as a whole, and certainly to Ben’s character, is the issue of loyalty, not only to his divine emperor, but to the people around him and even the lost United States of America.
The book is driven primarily by Ben’s interactions with Tokko agent, Akiko Tsukino. Seemingly ruthless, intent on service to emperor and empire (and perhaps above all things her sense of personal honor) Akiko is sometimes foil, sometimes ally, always unpredictable. As Ben and she delve into the conspiracy surounding a treasonous underground game sweeping the USJ, the body count inexorably rises (a la many a first-person shooter); new revelations made not only concerning this conspiracy, but the world Tieryas has created.
Featuring porticals (multipurpose personal devices with capabilities and applications far beyond those of today’s smartphones), mechas (giant battlebots capable of leveling cities), and computer games used as everything from a method of execution to active counter-intelligence—never mind robotic limbs (with firearm attachments), packs of genetically-engineered killer pomeranians, and murder clubs—Tieryas developes a world that is fascinating and engrossing. One that, in perhaps his greatest tribute to Philip K. Dick, you feel you haven’t fully explored even at the book’s end.
The Clever Dream of Man by Lynn Houston
I review books of poetry for, I think, many of the reasons people continue to write them. Poetry is important and challenging, one of (if not) the most difficult forms of literary art. While bad poetry is fairly easy to produce, good poetry can take a long time to write, not so much in that one poem can consume days or weeks or months (though it can) but in that a poet can spend years getting to the point at which they’re actually writing quality poems (one of which may, in fact, take days or weeks or months of work). After many years spent thinking about poetry and several more seriously writing it, this is the stage of artistic maturity at which we find Lynn Houston. Houston’s time has been well spent, a fact demonstrated by the spare, immediate reflections contained in her first collection, The Clever Dream of Man.
Houston’s book is clearly a very personal one, focused on the development of self-knowledge, the search for love (not only erotic and romantic but love of self), and the competition between these various forms of love. Over the course of the collection, this competition plays out in the hearts and minds, bodies and souls of its characters, most centrally Houston’s poetic self. Whether basking in the reality of love, lamenting its loss, or dreaming the possibility of its transcendence, The Clever Dream of Man’s strongest poems brim with an acceptance of the power of nature and wonder at the reality of life.
Wise enough to be daunted by the world, brave enough not to let that fear control her, Houston’s poetry often reads very close to prose, not because she lacks feeling for language but because the thoughts expressed are so precise. For me, the most memorable poems in this collection are the ones that combine heart with a tinge of irony, pieces like “I Believe in Floating Grandfathers”, “Tomcat in Love”, “Jackpot Modern”, “Dreamhouse”, “The Grave Tree” and “Reincarnation as Someone with a Love Life”. The Clever Dream of Man is a short collection, but also a strong one—a volume that will leave readers anxious to see Houston flesh out her poetic vision.
Movieola! by John Domini
Reading John Domini’s work, whether it be fiction, nonfiction, or poetry, you get the feeling you’re in the presence of someone a little smarter than you, someone who understands life and literature a little bit better. Having sped through Domini’s latest, a collection of short fiction entitled Movieola!, I can add cinema to the list of Domini’s areas of expertise—and thank him for shedding new light (and a few welcome shadows) on a form I love.
Cast in the tradition of masters like Barth and Coover, the loosely linked cinematic tales contained in Movieola! showcase the development of the metafictional form, an overall arc that has classic experiments such as John Barth’s masterful short story collection, Lost in the Funhouse, at one end, the now-fairly-common, fully-integrated intrusive narrator at the other. Movieola! rests near the midpoint of this continuum, a point from which Domini is able to provide both sly critique and dramatic effect.
Its overall conceit a subversion of the usual novel to film progression, Movieola! is film become literature. Never what you expect, the book expands on its intellectual heft with titillation (“Blinded by Paparazzi” and “Wrap Rap Two-Step”) and prose that recalls Nabokov at his Americanized best, Domini’s words at times practically tap dancing and somersaulting across the page. Held together by the bonds of cinema, threads at once gossamer and steely, nuanced and blatant, Domini’s success is in mingling the inner workings of Hollywood with the craft of filmmaking, creating for us a parallel universe in which we experience cinema as art and industry, question and answer.
Music for Wartime by Rebecca Makkai
A literary symphony of history and fable, loss and remembrance, Music for Wartime echoes the work of magical realism’s Eastern European masters even as it creates a milieu all its own, one in which both the European and American experiences are featured, at times separately, at others in various levels of concert.
Chicago’s Rebecca Makkai is an exceptional writer, one able to move seamlessly between not just cultures of Old World and New, but registers as diverse as faerie tale and contemporary comedy. Possibly the most stunning attribute of Makkai’s work, though, is its consistent humanity, the clarity with which she sees the hybrid of joy and sadness that is human life.
Given that Makkai was featured in Best American Short Stories four years running (2008-2011), and that the selected stories (“The Worst You Ever Feel,” “The Briefcase,” “Painted Ocean, Painted Ship,” and “Peter Torrelli, Falling Apart”) are all included here, you might expect Music for Wartime to feel a little like a greatest hits album, a collections of classics mixed with a few relatively weak, newer pieces, the whole fitted uneasily into a book.
This isn’t the case. Makkai’s newer material is every bit the equal of her BASS stories. More than that (or, perhaps, again, in concert with it) Music for Wartime does indeed feel musical (a la Kundera), a symphony of past and present, light and dark, tiny fables intermingled with the sort of longer stories we traditionally think of in connection with the short story form. Though this is neither a linked collection nor a novel-in-stories, somehow Music for Wartime feels incredibly cohesive, a piece of art beyond the sum of its parts. The obvious conclusion being that this alchemy is just another byproduct of Makkai’s immense talent.
Falter Kingdom by Michael J. Seidlinger
Already at the age of thirty, Michael J. Seidlinger is the author of nine literary novels, books he produces at what can seem to other writers (myself included) as a dizzying pace. With his latest, Falter Kingdom, Seidlinger slows down just long enough to give us a jaw dropping, cleverly paced tale of demonic possession and addiction, social media and fundamental truth.
Though Falter Kingdom (with its teenage protagonist) may qualify as YA in the strictest sense, the book’s subject matter should tip potential readers that this is no jaunt through Narnia or Wonderland. Evincing neither the British manners nor the broad, whimsical world building of old-school YA, Falter Kingdom is alternative YA, the sort parents might want to keep Suzy and Jimmy from reading, something young adults will find nonetheless. Instead of fantasy, Seidlinger gives his readers contemporary hyper-realism with one major change: Demonic possession is not just a possibility but a reality, one that dominates the book’s narrative arc and produces a truly terrifying climax.
Protagonist Hunter Warden is a high school senior struggling with the usual problems of the high school senior: popularity (or the lack thereof), romance (or the lack thereof), and moods dominated by anomie, confusion, and self-loathing. Hunter’s parents don’t have time for him, his girlfriend is clueless, and his friends all seem frenemies in disguise. Along comes a demon named H. and Hunter may have found his new best friend. That, or a fiend ready to possess and destroy him.
Falter Kingdom is a tale very much about our modern world, the ennui that goes with information overload and sensory excess, and the opportunities for sadness and addiction that seem to lurk in so many hidden corners. This is not a happy novel, but a smart, enthralling one, a book that’s sure to gain Seidlinger fans among teens and twenties, readers who will, no doubt, be following his work for years to come.
As one of the lucky recipients of Mr. Baumeister’s savvy attentions, of course I’m happy to read this. The sharp thinking about my book, the deeply gratifying appraisal — yet what may have pleased me most was that take-no-prisoners opening, especially the wallop it delivered against “ham-fisted writing truisms.”
Thank you, John! I appreciate the comment. Very happy you found something worthwhile in the intro.