September 1999
Short Takes |
Oh,
Jackie
Maudy Benz
Berkley Books
192 pp.
$12.95
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It's the summer of 1963--just months before John F. Kennedy's
assassination--and North Wagoner is about to turn fifteen and
spend the summer at a Michigan lake with her cousin Dee. Rock
and Roll is still young and (by today's standards) innocent,
Camelot is in full glory in Washington, and as far as North can
tell, the world seems to promise a sublimated paradise: sexy
but not dirty. In some sense, the world seems synced up to her
own maturation, her coming of age into the world of love and
desire.
Of course, adulthood is much more complicated than an innocent
fifteen-year-old girl full of hopes can ever imagine--or predict,
as North comes to learn at Glass Lake. Moving from innocence
to experience comes at a cost she had never anticipated. Instead
of sharing delicate kisses with a teenaged boy, North is subjected
to her rich uncle's lecherous advances.
People are punished, North finds, for leaning too expectantly
into experience, as her mother is forever warning her. A woman
swimming in the lake among the teenage water skiers has her foot
torn off by a boat's propeller blade and now spends her time
at the club bar, prematurely aged. North's aunt takes a variety
of prescription pills to forget the lech she's married. And North's
cousin, Dee, may be pregnant--a tough thing for a teenager to
face, in 1963.
Through it all, North borrows Jackie Kennedy's courage and
poise as her own, simply to survive her coming of age: "She
seemed to prove that my feet could stay on the ground like hers
did, and one day my chosen boy might stand beside me, smiling
like the President."
Oh, Jackie is Maudy Benz's first novel, and its tightly-controlled
lyricism suggests we can expect strong, smartly introspect work
from her in the future. She captures the fantasies and anxieties
of adolescence beautifully, and her lyrical passages are nicely
balanced by dialogue that is realistic and rooted.
If you've forgotten (through self-denial, therapy or otherwise)
how painful adolescence was--or how sweet its promises once seemed--read
Oh, Jackie. It's a wonderful debut.
--Daphne Frostchild
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Look
Back
All the Green Valley
Fred Chappell
Picador USA
288 pp
$24.00
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If Dylan Thomas had been born in Appalachia, he would have
been Fred Chappell.
Put simply, Chappell should be considered a national treasure.
His work should be anticipated before release and celebrated
after. His is that quiet voice that whispers stories of gentle
people and reminds us that fiction should contain a poetic presence.
Look Back All the Green Valley is the concluding book
in the Kirkman family saga. Chappell's three previous novels
about them include I Am One of You Forever, Brighten
the Corner Where You Are and Farewell, I'm Bound to Leave
You. Each takes a different look at a segment of the family.
Look Back All the Green Valley tells the tale of Jess
Kirkman, a poetry professor who comes home to the hills of North
Carolina to help prepare the way for his mother's passing. It
is also his job to close down one of his late father's many hidden
workshops.
Jess, a stereotypical head-in-the-clouds professor, is preoccupied
with translating Dante's Inferno. But while he digs through
that medieval interpretation of hell, he is also trying to fathom
his irrepressible father's mind through the discovery of some
of his notebooks.
Chappell interweaves his wonderful storytelling with his poetry
as gently as a morning breeze. The reader will discover certain
passages that contain such beauty that one will be tempted to
read them over and over. Go ahead--the leisurely pace of Look
Back All the Green Valley offers you the chance to do just
that. It's the literary equivalent of drinking a good, iced lemonade
while sitting on the front porch.
Fans of explosions, war battles and political intrigue will
be sorely disappointed, for Look Back All the Green Valley
is a book about exploration: exploration of self, family and
what happens when you come to an alien world called home.
For those of you about to read Fred Chappell for the first
time, I envy you. You are about to discover one of the best voices
in American fiction and poetry. Enjoy the journey, for you will
soon hear the sirens calling to you from an all too quickly disappearing
South.
For those of you already are familiar with his work, all I
can tell you is that in Look Back All the Green Valley,
Chappell is at the top of his game, and this book should not
be missed.
Indeed, the only disappointing part of Look Back All the
Green Valley is that it ends. The family that we have listened
to for years will now be silent. We'll have to strain our ears
to hear new stories from new people.
I just hope it's Fred Chappell who introduces us.
--John Porter
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Gunfire
Around the Gulf: The Last Major Naval Campaigns of the Civil
War
Jack D. Coombe
Bantam Books
239 pp.
$23.95
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Jack Coombe thinks the naval battles of the Civil War have
gotten shortchanged when it comes to the history books--and he's
right. While everyone knows about Gettysburg and Sherman's March,
far fewer readers could tell you about the naval battles for
the ports of New Orleans, Vicksburg and Mobile Bay. And yet,
as Coombe argues, Southern ports were vital to keeping the Confederacy
supplied with "medicine, guns, powder, and clothing."
Once the Confederacy lost those ports, it began, in Coombe's
words, "a tragic march toward losing the war."
It didn't happen overnight, of course. From the moment it
lost Fort Sumter, the Union strategists understoond how vital
the South's ports were--without them, the cotton-for-guns-and-bullets
trade with England would come to a halt, and the agrarian-based
South would soon collapse. (England was the primary market for
the South's cotton.) Thus, five days after the loss of Fort Sumter,
President Lincoln, newly elected, announced an extended blockade
of the Southern coast--a difficult task, given the South's 3,500
miles of coastline. But the Union navy, though small by today's
standards (when war broke out, it had only forty-two vessels
in active service; by 1865, it would have seven hundred), significantly
outweighed the South's, which didn't have a single flotilla of
ships when the war began.
While none of the North's strategy was easily executed, setting
up successful blockades around the Gulf of Mexico proved most
difficult for the North, given its undersized fleet, and the
South successfully got blockade-runners around Florida and up
to Texas for quite a while. (Indeed, Coombe notes, "[D]uring
the last three years of the conflict, the Confederacy still managed
to ship half a million bales of cotton and violated the blockade
more than 8,000 times.") Only with Mobile Bay's defeat at
the hands of Union Admiral David Farragut in August 1864 did
the North completely shut down the Confederacy's trade route.
And with that, Coombe argues, the South was doomed.
While Gunfire Around the Gulf is a military history
with its fair share of dates and strategies, Coombe manages to
keep even an idle reader interested with well-drawn characters
and a writing style that breathes life and action into dusty
dates. (An example: the residents of New Orleans so hated the
Union's iron-fisted occupying general, Benjamin Butler, that
they put "his picture in the bottom of chamber pots.")
His five-chapter-long examination of the battle over Mobile Bay
is particularly strong.
For anyone looking for a new angle on the Civil War, Coombe's
naval history is a wonderful introduction.
--Woody Arbunkle
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Old
Buddy Old Pal
Michael Laser
The Permanent Press
175 pp
$22.00
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Every so often, a book comes along set among the skyscrapers
of Manhattan. More often than not, it deals with the fast-paced
life, towering ambition and the...well, New Yorkness of
the place.
This is not one of those books.
Old Buddy Old Pal is a different kind of New York book.
Rather than depending on a fast-paced story to keep you hooked,
Michael Laser's debut novel is an interior exploration that deals
with friendship and love. It is sparse but poignant. Essentially,
a young man suffering through life's ennui finds himself at a
career crossroad while simultaneously becoming involved with
the woman he's always loved--his best friend's wife.
Things like this always come at a price, and this time it
may involve losing his friends, his lover, his job...in fact,
losing everything he's ever desired. But there are also rewards:
a new life, a new love, a new, more beautiful way of looking
at things and people.
Mr. Laser's dialogue is not puffed out or pontifically pretentious.
It is pared down to the bones, and the pain that our hero Burt
feels over slights and losses is palpable and real. Burt is the
nebbish we all know and try to love but in reality want to slap
and say, Get a grip, will ya?
Alan is the by-his-own-bootstraps kind of a guy who gets written
up in success magazines. He's the wild daredevil Neal Cassady
to Burt's more introverted Jack Kerouac. Alan has the perfect
life that he trades for just one more chance with his college
lover. Both Alan and Burt have the opportunity that each thinks
has passed him by.
Self-discovery is never easy--but with these two guys, you
should add "painful" to the equation.
Old Buddy Old Pal is a strong first novel. Mr. Laser
is obviously in love with words and with New York City. The combination
is delightful.
--John Porter
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Talk
Sports Like a Pro:
99 Secrets to Becoming
a Sports Goddess
Jean M. McCormick
Perigee
300 pp.
$13.95
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In this fun, eclectic book, Jean McCormick--a former producer
for both Nightline and ESPN--sets out to prove that "Any
woman can become a Sports Goddess...The only person holding her
back is herself."
The problem novices face, of course, is trying to get started--with
all the rules and positions, it's hard to look knowledgable while
watching something that seems to have competition and ridicule
of weakness built into its very definition. And that's where
McCormick's book is most useful.
Think of it as "How to Use Sports Knowledge to Win Friends
and Influence People." It's part primer, part cheat sheet
for women who want to understand what men are talking about around
the water cooler. For starters, McCormick suggests, think THIN:
TV, Headline News, Internet, Newspaper.
Catch a few minutes of a game (check McCormick on which minutes--while
she suggests watching the beginning of a football game, she recommends
catching only the last five minutes of a basketball game), watch
the sports section on the local news or even tune into one of
ESPN's sports shows, hit a sports-driven Web site, and at least
glance at your newspaper's sports section.
You don't have to be able to defend your positions at length,
of course. Listen to men's sports talk in the office sometime--really,
it's often drawn from little more than you can get by thinking
THIN.
That's the cheat sheet aspect to Talk Sports Like a Pro.
But McCormick offers something much larger and more useful, if
the sports novice is interested in doing more than looking like
one of the guys around the water cooler. In case you actually
want to understand and enjoy the game, McCormick explains the
basic rules and suggests which positions are important to watch
for everything from professional football and basketball to tennis,
horse racing, auto racing and even sailing.
It's an easy book to read casually on and off because it's
structured around McCormick's ninety-nine tips--plus a few Bonus
Secrets thrown in by sports journalists like Bob Costas and Chris
Berman. And it's not just relevant to women readers. As far as
the rules explication goes, a budding Little League player or
football player starting his first season could profit from the
book.
But before you buy it for a nephew's birthday, you might consider
the book's pink spine--and the fact that McCormick keeps referring
to the reader as a Sports Goddess in Training.
--Daphne Frostchild
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Starting
Out
in the Evening
Brian Morton
Berkley Books
325 pp.
$12.95
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Heather Wolfe is a young, ambitious woman with literary aspirations.
She has worshipped Leonard Schiller since the age of fifteen,
when she "discovered" one of his few published novels
on a library shelf. After voraciously reading his two early works,
he becomes her hero, role model and mentor. She shapes her life
by asking herself how the characters in Schiller's books would
react in her situation.
Finally, in graduate school (she is writing her master's thesis
on Schiller's work), Heather arranges to meet Schiller. But she
is not prepared for the person he has become. He is no longer
a brash, self-determining young man; his only remaining joys
are his writing (which he does unfailingly every day) and his
daughter Ariel, whom he loves unquestioningly despite her limited
intellect. Surprised, Heather reads his later novels and finds
them lacking in all that made his earlier works interesting to
her.
Heather isn't alone in her apprehension. While Heather must
somehow reconcile her image of Schiller to his bloated, decrepit
body and stultifying predictability, Schiller finds himself attracted
to Heather's youthful vitality (he sees Heather as his last chance
at immortality) but has serious doubts about her capabilities.
Brian Morton focuses on their ensuing relationship, and on
Ariel's obsession with motherhood and marriage. Because the three
central characters are all about a generation apart, it is, in
one respect, a novel-length parable of the Ages of Man.
Starting Out in the Evening is a thought-provoking
book that deals honestly with human emotions and maturation,
and it provides a fascinating study of how age affects personality
and relationships.
Morton's first book (The Dylanist)was a strong effort;
I highly recommend his second.
--Daphne Frostchild
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Missing
Women
and Others
June Spence
Riverhead Books
196 pp.
$12
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There's a word for June Spence: minimalist. And there are
two words to describe the kind of minimalist she is: damn good.
The short stories in this collection are quiet on the surface,
but as Hemingway (the Grand Papa of all minimalists) used to
say, writing is like an iceberg: it's what you don't see that's
important...and dangerous.
Throughout this collection, Spence explores the nuances of
emptiness--how we lose love and loved ones and why we keep hoping
(sometimes hopelessly) that they'll come back (or that, if necessary,
we'll find something better to replace our current selves). In
"Terms of Lease," a newly divorced woman sleeps in
a bed full of books and pretends their sharp corners are her
lover's "sharp hips and elbows." In "Once Removed,"
a woman worries that a friendly co-worker will see in her the
same unknown flaw that keeps her cat from coming around her.
In "Fight or Flight," a woman protests a bit too strongly
that she's grown to prefer being alone after all. In "A
Nice Man, A Nice Girl," a man imagines what his daughter
would have been like at eighteen, had she not died at birth.
In the same story, a woman loses her identity in methamphetamine-driven
encounters with college boys.
Only in "The Water Man"'s widowed grandmother do
we find a character at peace with her loss. While she still reaches
out in sleep to pat her long-missing husband, she accepts her
loneliness in a way Spence's other characters do not because
she knows and appreciates her self-worth. She's earned it with
age and experience--which gives hope, I suppose, for Spence's
younger, needier characters, who are trapped in the chasm between
desire and fulfillment, between need and honest declaration of
need (with all its attendant risks of exposure and rejection).
Spence is willing to explore character at greater length than
Hemingway, and she's more willing to describe what, precisely,
is at stake for her characters. But her reticence about herself
as these stories' writer--her unwillingness to force herself
into her characters' stories--places her solidly among the best
minimalists.
For serious readers who have strayed too far from their life-sustaining
roots and languished too long among beachgoers' drivel, read
Spence. You will remember, in a sudden flush, what your attraction
to literature was all about.
--Charlie Onion
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The
Blair Witch Project:
A Dossier
Compiled by D.A. Stern
Onyx
$12.95
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Yes, it's a movie tie-in for that low-budget sleeper about
the three student filmmakers who disappeared in a stretch of
Maryland woods while making a documentary about a legendary witch.
But consider the movie: made for what John Travolta probably
gets paid for a single take, this film shot to the top of the
box office because it didn't do the same old thing in the same
old way.
It dared to be different.
So, of course, the tie-in book's got to be different too,
right?
Yep.
As a sign that creativity and originality will win
sometimes, this book stays faithful to the film's jarring documentary
style by presenting the story as if it were an investigator's
file, complete with a private investigator's letters and memos,
dummied-up newspaper articles (a la The Onion's Our Dumb Century;
must be a postmodern pastiche thing), the local sheriff's press
releases, "missing" posters, extensive transcripts
of the private investigator's interviews, excerpts from the female
filmmaker's journal, and a few grimly realistic crime scene photos.
It's an enjoyable twist on a predictable genre, and even the
two or three people who haven't seen the movie (you know who
you are) will find the book intriguing. And that's saying something,
for a movie tie-in.
--Woody Arbunkle
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