American Morons (Hardcover)

~ Glen Hirshberg (Author)

Editorial Reviews

From Publishers Weekly

Starred Review. Ordinary bits of Americana show a dark and eerie aspect in the seven stories in Hirshberg's second collection (after 2003's The Two Sams). "Flowers on Their Bridles, Hooves in the Air" is set in the arcades of a dying seaside boardwalk where characters see their unfocused lives mirrored in the decaying rides and unwinnable games of chance. "Safety Clowns" uses the mundane routines of a neighborhood ice cream truck as a springboard for an incongruous tale of supernatural vigilantism. The title story recalls the oblique horrors of Robert Aickman's weird tales in its account of two American travelers abroad who find themselves caught up in the indecipherable but increasingly menacing rituals of another culture. Hirshberg grounds his dark fantasies in minute details of the everyday that give them a discomfitingly believable foothold in reality. His skill at drawing horrors out of commonplace situations peopled with credibly drawn characters distinguishes these subtle tales of the uncanny as some of the most effective and chilling in contemporary weird fiction. (Oct.)
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From Booklist

Hirshberg splashed big with the five unconventional ghost stories in The Two Sams (2003). These stories amplify the impact. More than anyone else published and praised within the dark-fantasy genre, Hirshberg is a mainstream, middle-brow realist. His characters are as ordinary as tract housing and office cubicles. Their brushes with the other-than-normal occur in utterly mundane contexts. In "American Morons," young tourists (m/f) broken down on an Italian superstrade are helped by two gunsel look-alikes--would-be kidnappers? Well, not, it turns out, of them, at least. In "Safety Clowns," a 20-year-old who has just buried his mother tries out for an ice cream truck job by accompanying the company's best man for a day, during which he discovers that ice cream isn't all the truck delivers. There's nothing supernatural in either story, but few monster yarns are as nerve-racking. A monster, ghosts, and the inexplicable turn up in the five volume mates but not clumping, howling, or startling the characters like most horror-fiction bugaboos. Hirshberg is more concerned with the human heart and soul than with the supernatural. Ray Olson
Copyright © American Library Association. All rights reserved

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Product Details

• Hardcover: 192 pages
• Publisher: Earthling Publications (October 1, 2006)
• Language: English
• ISBN-10: 0976633981
• ISBN-13: 978-0976633983
• Product Dimensions: 8.5 x 5.6 x 0.9 inches
• Shipping Weight: 1.4 pounds
• Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #867,927 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

2 of 2 people found the following review helpful:

5.0 out of 5 stars Scared the crap out of me. Loved every minute., August 27, 2007

By	Sara E. Dobie - See all my reviews (REAL NAME)

I don't mean to be a pest, but the first story in Hirshberg's collection, "American Morons," almost made me put it down. It's not that I'm easily offended---quite the contrary. And it isn't because I love traveling in Europe and resent the tale. No, it was for neither of these reasons. Instead, it was because it seemed so stereotypical. It wasn't until I kept trucking along with his collection that I realized what he was trying to do: scare the crap out of the audience with nothing more than the mundane.
It was "Safety Clowns" that made me write this review. I'm a writer, too. We don't get much credit for the things we create. Anymore, no one notices the complicated nuances of a nice metaphor or the proper usage of the word "its". So I wanted to give Hirshberg the credit his writing deserves. From the get-go in "Safety Clowns," I knew something was wrong about the ice cream salesmen in the story. It was the so-called cockroaches clinging to the sides of the trucks that gave it away.
Hirshberg does this in all the stories in his collection: he turns normal, everyday situations and characters into things to be feared. And trust me, I was fearing. Sitting in my bed, reading yet another story right before a night of restful slumber, I was basically signing up for nightmares. Then, the last one--"The Muldoon"--uggggrrrrhhhh. Wow. Scared the living crap out of me, and I loved every minute.
If you liked Stephen King's "Everything's Eventual," you'll love this collection.

2 of 2 people found the following review helpful:

5.0 out of 5 stars Glen Hirshberg is back in top form, March 9, 2007

By	Raphaël Rousseau "fictionman" (Paris, France) - See all my reviews (REAL NAME)

Just a few years after The Two Sams, his first short story collection, Glen Hirshberg is back with a new great collection of stories. Yes, these are ghost stories, but there is more here as Mr. Hirshberg also used some more mainstream suspense here, always with the same great quality of writing style. I do agree with Peter Straub when he says that Glen Hirshberg is one of the best writers of weird fiction of his generation. There is nothing more to say except here with this book you go from one good surprise to another all along the pages. A good trip full of memorable steps. Enjoy!

3 of 4 people found the following review helpful:

5.0 out of 5 stars More phantasmagoric than horrific, August 6, 2007

By	D. Dennigan (west hollywood, CA United States) - See all my reviews (REAL NAME)

Glen Hirshberg is the reincarnation of Shirley Jackson, that writer of psychologically creepy books like We Have Always Lived in the Castle and The Haunting of Hill House. When Jackson died in 1965, the Earth was stripped of a horror writer whose greatest horror is reality, who doesn't just know but feels, as Jackson declared in Hill House, "No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream." Imagine the sighs of hippopotami in slow rivers and barely sentient babies sensing an inarticulable loss when Jackson died. But--Nature replenishes herself. Just months after Jackson's death, Glen Hirshberg was born, and like Jackson's, his characters resort to fantasies in order to survive their realities. Hirshberg even takes a cue from Jackson's larks and katydids. In American Morons, loons, peacocks, and spiders seem to be in their own little nightmares.
See how I'm dwelling on Jackson more than Hirshberg? This is what Hirshberg does best-- he deflects. In each story, there's the real heart of darkness and then there's the trappings, the near-red herrings: the death cry of peacocks, jasmine tea pods unfurling like spiders' legs, a carnival song that seeps into the brain, lifelike dolls made of seaweed and shells, two dead women's dresses clinging to each other, the cockroach-like mouths of an ice cream truck. Hirshberg sends an ice cream man out in a van and suddenly sunny So Cal turns into that dark valley through which you must not walk... But the horrors these trappings mask are plainer and also more haunting: Americans stranded in the breakdown lane of the Italian Superstrade at a time when anti-American sentiment has reached a fever pitch in the title story "American Morons"; the purposelessness of retired teachers in "Transitway"; desiring salvation yet refusing to believe in it in "Like a Lily in the Flood"; mourning a dead lover in "The Devil's Smile"; or living in the house you grew up in after your parents have died in "Safety Clowns."
The best stories merge the set piece and the personal horrors. "The Muldoon" has three ghosts (or none-- Hirshberg is tricky): two hags left to rot in their beds and a sainted grandfather whose grandsons sit shiva for him. After the two gruesome deaths, a critical accident, and a revelation about the grandfather, it's the ghost of the grandsons' relationship that stays with me longest: "...I watched my brother. The moonlight seemed to pour over him in layers, coating him, so that with each passing moment he grew paler." Then there is the Hawthornesque "Like a Lily in a Flood," about a man revisiting the New England inn where his parents died, and the story he hears about Thoreau's laundrywoman. Not wanting to give away the ending-- and unsure which thread is the real horror and which is the red herring-- I'll say that ultimately, the only otherworldly aspect seems to be the specter of the laundrywoman's mind.
While his stories certainly skirt the supernatural, Hirshberg never actually invents a new world, species or specter. His horror, like Jackson's, is psychological. His snowballing sentences and beguiling settings might make you believe that the real danger is something other than human relationships, and in so lovingly fooling his readers, he makes us resemble the morons of the title.