Stanley Elkin is this year's guest editor for the Best Stories—and, not surprisingly, the kinds of stories he likes are the kind he writes: longish, comically operatic, frequently about Jews or the momentarily possessed. (In his candid, somewhat overwrought, rather professorial preface—which might read better as an afterword—he admits this, often quite charmingly.) But, however idiosyncratic the Elkin choices, they include two spectacularly good pieces of fiction: Peter Taylor's resonant sidle into the ancient forms of self-protection by women ("The Old Forest"); and David Evanier's "The One-Star Jew," which may be American fiction's finest, cleanest rendition of the sadness and partialness of the lives of people who work together in the same office. Grace Paley's greatly moving "Friends" comes close to these standouts: it's about that old gang of playground mothers from other Paley stories—but now, in middle age, one of the friends is dying. Also at the top of the class—Richard Stern's pathetic "Dr. Kahn's Visit" and Donald Barthelme's "The Emerald," a sly fable that's often obliquely, delicately brilliant yet too frequently wiseacre. Sturdy, characteristic, unremarkable work, too, from Mavis Gallant (two stories), I. B. Singer, Updike, Elizabeth Hardwick, William Gass, Frederick Busch, John Sayles, and Barry Targan. And, among the lesser-knowns, Elkin's editorial nerve seems to have been stimulated most successfully by Curt Johnson's story of sordid-sordid-sordid extramarital involvement ("Lemon Tree") and Norman Waksler's "Markowitz and the Gypsies" (short story as extended joke, and rather nice). Add in a handful of undistinguished tales by other lesser-knowns, and it's a fairly uneven collection—like most annuals. But, if only for that superb Evanier story, it's a valuable item.
Pub Date: Oct. 1, 1980
ISBN: 0395294460
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: March 28, 2012
Kirkus Reviews Issue: Oct. 1, 1980
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
Genetically engineered dinosaurs run amok in Crichton's new, vastly entertaining science thriller. From the introduction alone—a classically Crichton-clear discussion of the implications of biotechnological research—it's evident that the Harvard M.D. has bounced back from the science-fantasy silliness of Sphere (1987) for another taut reworking of the Frankenstein theme, as in The Andromeda Strain and The Terminal Man. Here, Dr. Frankenstein is aging billionaire John Hammond, whose monster is a manmade ecosystem based on a Costa Rican island. Designed as the world's ultimate theme park, the ecosystem boasts climate and flora of the Jurassic Age and—most spectacularly—15 varieties of dinosaurs, created by elaborate genetic engineering that Crichton explains in fascinating detail, rich with dino-lore and complete with graphics. Into the park, for a safety check before its opening, comes the novel's band of characters—who, though well drawn, double as symbolic types in this unsubtle morality play. Among them are hero Alan Grant, noble paleontologist; Hammond, venal and obsessed; amoral dino-designer Henry Wu; Hammond's two innocent grandchildren; and mathematician Ian Malcolm, who in long diatribes serves as Crichton's mouthpiece to lament the folly of science. Upon arrival, the visitors tour the park; meanwhile, an industrial spy steals some dino embryos by shutting down the island's power—and its security grid, allowing the beasts to run loose. The bulk of the remaining narrative consists of dinos—ferocious T. Rex's, voracious velociraptors, venom-spitting dilophosaurs—stalking, ripping, and eating the cast in fast, furious, and suspenseful set-pieces as the ecosystem spins apart. And can Grant prevent the dinos from escaping to the mainland to create unchecked havoc? Though intrusive, the moralizing rarely slows this tornado-paced tale, a slick package of info-thrills that's Crichton's most clever since Congo (1980)—and easily the most exciting dinosaur novel ever written. A sure-fire best-seller.
Pub Date: Nov. 7, 1990
ISBN: 0394588169
Page Count: 424
Publisher: Knopf
Review Posted Online: Sept. 21, 2011
Kirkus Reviews Issue: Oct. 15, 1990
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