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Editorial Reviews
From Publishers Weekly
Starred Review. Short-story master Eisenberg delivers, with signature intelligence and humor, six elegant, soulful new tales in her fifth book of stories. In a nuanced and compassionate family portrait, "Some Other, Better Otto," complex expressions of love and despair circle around a high-strung brother and his prodigiously talented, mentally ill sister. Several other stories also portray families pulling simultaneously apart while cleaving together, but each character and each motive is unique in Eisenberg's hands. The extraordinary, near–novella-length "Window" follows a young, naïve woman into a marginal, backwoods life with a secretive and dictatorial man who has business in arms dealing and a toddler son he's left in her care. The title piece is set in Manhattan around the events of 9/11 and focuses on the post-collegiate ennui of a group of 20-something friends facing an uncertain future. The author is at the top of her form delving into the varied but devastating truth that, even after an apocalypse, people still have to lie in the beds they've made, unable to sleep. A terrific addition to the oeuvre of one of America's finest and most deeply empathetic short story writers. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The Washington Post's Book World/washingtonpost.com
When critics want to praise a short story writer, they like to trot out Chekhov. As an adjective, the overused "Chekhovian" often means little more than "good," although it does bestow a certain gravitas, a whiff of Russian soulfulness. The Canadian writer Alice Munro gets wrapped in the master's cloak most often. But one could more sensibly argue for Deborah Eisenberg, who beat Munro to the venerable Rea Award for the Short Story by a year. Eisenberg's seventh collection of stories, Twilight of the Superheroes, confirms her talent for fiction that, like Chekhov's, insinuates you right into the characters' gnarled hearts, by methods so subtle and slippery that you're not sure where you are or how you got there. The quintessential Eisenberg protagonist is terminally ironic and certainly "difficult," as friends and relations will jump to attest. Her families are not usually strictly nuclear: There are second and third marriages, gay couples adopting babies, complicated custody arrangements, the stray cradle-robber. Many of the characters confront encroaching middle age with consternation, their possibilities reduced before they were even fully aware they'd made choices ("How has he gotten so old?"). But other characters are quite young, and it's the clash between the kids' and the grown-ups' sensibilities -- cynicism and hope, world-weariness and naiveté -- that gives this collection its bite and ballast. In the title story, Lucien, a widowed Manhattan gallery owner still in mourning, finds a spectacular sublet for his Midwestern nephew, Nathaniel, and Nathaniel's friends. It would be a fairy-tale real-estate story if the loft didn't have a perfect view of the World Trade Center on Sept. 11, 2001. The twentysomething roommates need almost four years to recover. "For a long time now they've been able to hang out here on the terrace without anyone running inside to be sick or bursting into tears or diving under something at a loud noise or even just making macabre jokes or wondering what sort of debris is settling into their drinks." But as things return to normal, the loft's owner returns to New York, and Lucien has the unpleasant job of ousting the aimless pals. Where they're going, either literally or figuratively, remains unclear. The story, like the loft's terrace, seems suspended in space and time. When Kristina, the timid young waitress in "Window," flees the shadowy gun dealer who has deposited her at an isolated cabin in the woods to care for his infant son, she muses, "Chicago, Maine, Seattle, Atlanta -- or why not go to one of those places really far away, where people spoke languages she couldn't understand at all? Because that was the point -- this direction or that -- apparently it didn't matter where she went." Wherever she finds herself, she'll be stuck with her own confusion, and Eisenberg gives us a crystal-clear view of her character's fogginess. Sanity -- the thin line between having it and losing it -- is a recurrent theme. Many of these characters fall somewhere between neurotic and downright dysfunctional. In "Some Other, Better Otto," an irascible lawyer must mediate among his good-natured lover, William; his "normal" sister, Corinne; and his brilliant, unstable sister, Sharon. Sharon shuns the family Thanksgiving dinner ("I know it can be hard for her to be with people," Corinne sniffs, "but we're not people -- we're family") and narrowly misses being institutionalized when a security guard mistakes her for a deranged street person. The diplomat's wife in "The Flaw in the Design" silently worries as her son's political rants become more and more bizarre. Distant from her husband and at a loss to help her son, she embarks on an affair for little purpose other than distraction. "I wanted a life very much like the one I'd grown up with, a life like my parents' -- a cozy old house on a sloping lawn, magnolias and lilacs, the sun like a benign monarch, the fragrance of a mown lawn, the pear tree a gentle torch against the blue fall sky, sleds and the children's bicycles out front, no more than that, a music box life, the chiming days." But maybe only from outside does anyone's life seem uncomplicated or purely happy. Eisenberg favors sudden point-of-view shifts that force us to see a situation in an entirely new way. In "Like It Or Not," Kate, a divorced high school biology teacher on vacation in Italy, finds herself in the company of a debonair count. It's the kind of charmed story that, in the movies, would lead to romance (cue the swelling violins). Instead, we leave Kate's perceptions mid-story and land in the count's brain -- to discover that he lusts after not Kate but a teenage girl. The
Starred Review. Short-story master Eisenberg delivers, with signature intelligence and humor, six elegant, soulful new tales in her fifth book of stories. In a nuanced and compassionate family portrait, "Some Other, Better Otto," complex expressions of love and despair circle around a high-strung brother and his prodigiously talented, mentally ill sister. Several other stories also portray families pulling simultaneously apart while cleaving together, but each character and each motive is unique in Eisenberg's hands. The extraordinary, near–novella-length "Window" follows a young, naïve woman into a marginal, backwoods life with a secretive and dictatorial man who has business in arms dealing and a toddler son he's left in her care. The title piece is set in Manhattan around the events of 9/11 and focuses on the post-collegiate ennui of a group of 20-something friends facing an uncertain future. The author is at the top of her form delving into the varied but devastating truth that, even after an apocalypse, people still have to lie in the beds they've made, unable to sleep. A terrific addition to the oeuvre of one of America's finest and most deeply empathetic short story writers. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From The Washington Post's Book World/washingtonpost.com
When critics want to praise a short story writer, they like to trot out Chekhov. As an adjective, the overused "Chekhovian" often means little more than "good," although it does bestow a certain gravitas, a whiff of Russian soulfulness. The Canadian writer Alice Munro gets wrapped in the master's cloak most often. But one could more sensibly argue for Deborah Eisenberg, who beat Munro to the venerable Rea Award for the Short Story by a year. Eisenberg's seventh collection of stories, Twilight of the Superheroes, confirms her talent for fiction that, like Chekhov's, insinuates you right into the characters' gnarled hearts, by methods so subtle and slippery that you're not sure where you are or how you got there. The quintessential Eisenberg protagonist is terminally ironic and certainly "difficult," as friends and relations will jump to attest. Her families are not usually strictly nuclear: There are second and third marriages, gay couples adopting babies, complicated custody arrangements, the stray cradle-robber. Many of the characters confront encroaching middle age with consternation, their possibilities reduced before they were even fully aware they'd made choices ("How has he gotten so old?"). But other characters are quite young, and it's the clash between the kids' and the grown-ups' sensibilities -- cynicism and hope, world-weariness and naiveté -- that gives this collection its bite and ballast. In the title story, Lucien, a widowed Manhattan gallery owner still in mourning, finds a spectacular sublet for his Midwestern nephew, Nathaniel, and Nathaniel's friends. It would be a fairy-tale real-estate story if the loft didn't have a perfect view of the World Trade Center on Sept. 11, 2001. The twentysomething roommates need almost four years to recover. "For a long time now they've been able to hang out here on the terrace without anyone running inside to be sick or bursting into tears or diving under something at a loud noise or even just making macabre jokes or wondering what sort of debris is settling into their drinks." But as things return to normal, the loft's owner returns to New York, and Lucien has the unpleasant job of ousting the aimless pals. Where they're going, either literally or figuratively, remains unclear. The story, like the loft's terrace, seems suspended in space and time. When Kristina, the timid young waitress in "Window," flees the shadowy gun dealer who has deposited her at an isolated cabin in the woods to care for his infant son, she muses, "Chicago, Maine, Seattle, Atlanta -- or why not go to one of those places really far away, where people spoke languages she couldn't understand at all? Because that was the point -- this direction or that -- apparently it didn't matter where she went." Wherever she finds herself, she'll be stuck with her own confusion, and Eisenberg gives us a crystal-clear view of her character's fogginess. Sanity -- the thin line between having it and losing it -- is a recurrent theme. Many of these characters fall somewhere between neurotic and downright dysfunctional. In "Some Other, Better Otto," an irascible lawyer must mediate among his good-natured lover, William; his "normal" sister, Corinne; and his brilliant, unstable sister, Sharon. Sharon shuns the family Thanksgiving dinner ("I know it can be hard for her to be with people," Corinne sniffs, "but we're not people -- we're family") and narrowly misses being institutionalized when a security guard mistakes her for a deranged street person. The diplomat's wife in "The Flaw in the Design" silently worries as her son's political rants become more and more bizarre. Distant from her husband and at a loss to help her son, she embarks on an affair for little purpose other than distraction. "I wanted a life very much like the one I'd grown up with, a life like my parents' -- a cozy old house on a sloping lawn, magnolias and lilacs, the sun like a benign monarch, the fragrance of a mown lawn, the pear tree a gentle torch against the blue fall sky, sleds and the children's bicycles out front, no more than that, a music box life, the chiming days." But maybe only from outside does anyone's life seem uncomplicated or purely happy. Eisenberg favors sudden point-of-view shifts that force us to see a situation in an entirely new way. In "Like It Or Not," Kate, a divorced high school biology teacher on vacation in Italy, finds herself in the company of a debonair count. It's the kind of charmed story that, in the movies, would lead to romance (cue the swelling violins). Instead, we leave Kate's perceptions mid-story and land in the count's brain -- to discover that he lusts after not Kate but a teenage girl. The