Reviews

Review: The Narrow Road to the Deep North

Book by RICHARD FLANAGAN
Reviewed by FRANCESCA DE ONIS

the narrow road to the deep northA bee
Staggers out
Of the peony.

Richard Flanagan’s new novel, The Narrow Road to the Deep North, begins with an enigmatic haiku by Basho, a 17th century Japanese poet, which evokes a state of sublime consummation or mortal exhaustion, in other words, how love and war, beauty and horror are inextricably entwined.

Flanagan has explored these opposites of the human condition in three previous novels, set in Van Dieman’s Land, now the island of Tasmania, off the coast of New Zealand. In The Narrow Road to the Deep North, the 2014 winner of the Man Booker Prize, and in Flanagan’s other work, this remote, timeless region is his equivalent of Faulkner’s Yoknapatawpha or Marquez’s Macondo, a mythic terrain in which he explores the resilience and courage of the human spirit.

Review: The Narrow Road to the Deep North
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Friday Reads: December 2014

This month’s recommendations from The Common’s contributors and staff deal with the intersection of old and new, ancient and modern, on every level—personal, religious, political, even supernatural. Perhaps in the spirit of the season, we seem preoccupied by stories of intergenerational strife, love, and ambition. In their urgent focus on belief and truth-seeking, these books represent a literature of searching, a catalogue of quests across time and around the world.

Recommended:

To the End of June by Cris Beam, The Harafish by Naguib Mahfouz, We Others by Steven Millhauser, Hum by Jamaal May, High as the Horses Bridles by Scott Cheshire.

Friday Reads: December 2014
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Review: Troy, Michigan & Don’t Go Back To Sleep

Books by WENDY S. WALTERS and TIMOTHY LIU
Reviewed by J. MAE BARIZO

Troy, MI

J. Mae Barizo reviews two poetry collections: Troy, Michigan by Wendy S. Walters and Dont Go Back to Sleep by Timothy Liu.

TROY, MICHIGAN

Wendy S. Walter’s Troy, Michigan chronicles municipal and personal history in this elliptically elegant collection of sonnets. This book swivels gracefully through eras in the city of the title, alluding to its mythic namesake while divulging the narrator’s observations on industry, race, and the tug of the natural world. Walters spent 15 years of her childhood in Troy, which is in close proximity of Lake Huron and Lake Erie; her father worked for General Motors. 

Review: Troy, Michigan & Don’t Go Back To Sleep
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Review: Lila

Book by MARILYNNE ROBINSON
Reviewed by CHANTAL CORCORAN

Lila

“For a town, it wasn’t such a bad place,” observes Lila, a transient passing through Gilead, who ends up staying to marry an old widowed minister; she’s also the character for whom Marilynne Robinson has titled her most recent novel. Lila is Robinson’s third book to examine the lives and devotions of a small group of characters in this secluded Christian prairie town in Southwest Iowa. While each book is an independent work, shining on its own—Gilead won the Pulitzer Prize in 2005, and Home won the 2009 Orange Prize for Fiction and was a National Book Award finalist—the overlapping narratives weave a complex tapestry of the human experience as it relates to personal faith.

Review: Lila
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Review: The Afterlife of Stars

Book by JOSEPH KERTES
Reviewed by REBECCA CHACE

How to depict human suffering, especially that of children? This question is at the heart of Joseph Kertes’s haunting novel, The Afterlife of Stars, which tells the story of a family fleeing the 1956 Soviet invasion of Hungary to crush the anti-Communist revolution from the point of view of young Robert Beck, 9.8 years old but “born old,” as his Parisian aunt tells him when she meets him for the first time. Kertes, like Robert, escaped with his family across Europe and eventually settled in Canada, though he was only five at the time. Kertes, whose previous novel, Gratitude, won both the National (U.S.) and Canadian Jewish Book Awards, might have written a memoir, but writing a novel allowed him to tell this story in a lyric, dreamlike prose. This may have been the best way for this author to convey in a literary, adult voice such an early trauma.

Review: The Afterlife of Stars
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Review: Wolf in White Van

Book by JOHN DARNIELLE
Reviewed by OLIVIA WOLFGANG-SMITH

wolf in white van

In the early 1990s, John Darnielle set “some of his poetry to music, using a guitar he’d gotten for a few bucks at a nearby strip mall music store. His idea at the time was that eventually his day job would be ‘poet.’ …Young men have all kinds of crazy ideas about what they’re going to end up doing for a living,” says his website bio. He went on to found the popular folk-rock band, The Mountain Goats. Its fans are drawn to Darnielle’s simple instrumentals and powerful lyrics.His song “You Were Cool” sums up his approach and the band’s appeal: “This is a song with the same four chords / I use most of the time / when I’ve got something on my mind / And I don’t want to squander the moment / Trying to come up with a better way / To say what I want to say.”

Now, Darnielle has fulfilled his day-job fantasy in another way—he has written a National Book Award-nominated debut novel, Wolf in White Van. Fans of Darnielle’s music will not be disappointed. Darnielle writes in the poetic, playful tangents characteristic of his lyrics, often grasping at a passing image or emotion and describing it from every angle before rejoining the unfolding story.

Review: Wolf in White Van
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Review: Land of Love and Drowning

Book by TIPHANIE YANIQUE
Reviewed by SOPHIE MURGUIA

land of love and drowning

It’s hard for anyone to write a magical realist novel today without inviting comparisons to Gabriel García Márquez. Especially in the wake of his death this year, the Colombian literary giant has been mythologized as the master of blurring the lines between reality and fantasy. Tiphanie Yanique’s debut novel Land of Love and Drowning is a magical realist work that calls to mind García Márquez, yet still manages to stake out new territory—both geographic and literary.

Like One Hundred Years of Solitude, Yanique’s novel is a multigenerational saga.Land of Love and Drowning traces the story of a Virgin Islands family over six decades of the 20th century. The novel opens in 1917, just as the islands of St. Thomas, St. John, and St. Croix are transitioning from Danish to American rule. When a shipwreck kills Captain Owen Arthur Bradshaw, patriarch of the Bradshaw family, and his wife dies soon after, sisters Eeona and Anette are orphaned and forced to fend for themselves. Yanique’s novel follows the lives of these two women as they attempt to work their way out of their newfound poverty, experiencing a string of ill-fated love affairs along the way.

Review: Land of Love and Drowning
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Review: Fourth of July Creek

Book by SMITH HENDERSON
Reviewed by JAMES DICKSON

fourth of july creek

Number two on Kurt Vonnegut’s famous eight-item to-do list for fiction writers is: “Give the reader at least one character he or she can root for.” But not too much, one might add. Smith Henderson strikes the balance between likeable and unlikeable admirably in the protagonist of his debut novel Fourth of July Creek. Set in rural Montana, the novel follows Pete Snow, a social worker who rescues children from abusive and dysfunctional families. We like Pete. He gets kids out of dangerous houses with drug-dealing parents, as seen in the novel’s opening scene in which Pete responds to a domestic dispute between one of his clients, teenage Cecil, and his speed-addicted mother—Cecil’s on the roof of the house, Mom’s shooting at him with a pellet gun.Pete knows that this is noble work without being self-righteous about it. He’s funny. When the officer tells Pete that Cecil knocked himself out running into the tailgate of a pickup truck, Pete’s sole response is, “I imagine that was satisfying.” But as the novel progress, we begin to dislike him, too. He slugs Cecil in the stomach. He admits to alcoholism but does nothing about it. We’re not talking about quiet tippling here. He drinks himself into violence, punching out his own car windows on one occasion, then blacks out. He can be a bit of a misogynist.

Review: Fourth of July Creek
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Fargo: A Walkthrough & Discussion

by ELIZABETH MUTTER

panel


(Attention: Spoilers Ahead!)

In Fargo, an unpredictable and manipulative out-of-towner named Lorne Malvo (Billy Bob Thornton) incites a string of murders in small-town Minnesota. Though thematically, tonally, and aesthetically based on the critically acclaimed 1996 Coen brothers’ film of the same name – fear not, the series preserves the film’s beloved dark humor and “you betcha”s – the Emmy-nominated FX mini-series introduces entirely new characters and plot. Many of these characters are unexpectedly layered, defying tropes of the idiot detective and the ruthless killer, while some minor characters fit comfortably in well-known molds. It is a credit to the expert writing and acting that even these characters – including Glenn Howerton’s artificially bronzed and tragically naïve personal trainer – are vibrant.

In the first episode, we meet life insurance salesman Lester Nygaard (Martin Freeman) – a doormat tread on by everyone, especially his wife. A chance encounter with his high school bully, Sam Hess (Kevin O’Grady), sends Lester to the hospital with a broken nose. There, he meets Malvo, a hitman with a severe haircut and black eyes, who chides Lester for quietly enduring emasculation and offers to kill Hess. Lester doesn’t say yes to the offer but doesn’t say no either, and the two part ways. Malvo stabs Hess at a strip club that evening. A few days later, a newly confident Lester strikes his wife dead with a hammer when she criticizes him. In a state of panic, Lester calls Malvo to help him deal with the body. First to arrive at Lester’s door, however, is Chief Vern Thurman (Shawn Doyle), there to question Lester about the Hess murder. When Malvo appears, he kills the chief with a shotgun. To avoid suspicion, Lester runs headfirst into a wall to knock himself out as if he too were a victim of whomever committed the other two murders.

Throughout the series, Lester must shed layers of scruples in order to evade capture and preserve his new alpha male persona. This transformation, guided by Malvo’s powerful influence, is the series’ thematic backbone, spawning ethical questions that haunt characters and viewers alike. From the beginning, Lester’s crimes are suspected by the pensive Deputy Molly Solverson (Allison Tolman), and she butts heads against the newly appointed chief. Luckily for Molly, she has Duluth Deputy Gus Grimly (Colin Hanks) on her side – eventually romantically, as well as in the line of duty. Thrown into the mix are the surly, bearded Mr. Numbers (Adam Goldberg) and the hulking, deaf Mr. Wrench (Russell Harvard), who have been hired by Minnesota’s Fargo-based organized crime organization – referred to as “Fargo” – to identify and kill the murderer of Sam Hess. This makes for a complicated game of cat-and-mouse where everyone takes turns as predator and prey.

The show is notable for its skilled acting, striking cinematography, and sharp dialogue that amuse and unsettle viewers. Fargo isn’t perfect – there’s an entire subplot that disappears without resolution or explanation – but the show is confident in a way that lends it a cinematic quality. Even though writer and creator Noah Hawley has described Fargo as a ten-hour movie, there are still ten distinct episodes – each named after a riddle or paradox – which allows for ten beginnings and ten endings. Knowing that our memories give preferential treatment to endings – whether it’s the last thing you read before bed or the final moment of an important relationship – the creators of Fargo have imbued the final scene of each episode with vivid thematic commentary on who comes out on top when some humans behave like beasts.

The last scene of the first episode – “The Crocodile’s Dilemma,” in which Malvo brings corruption to Bemidji – is of Molly and her father Lou, a former policeman, as they prepare to go ice fishing. Lou asks Molly to work as a hostess at his diner, since “people in this world are less inclined to shoot a hostess than, say, an officer of the law.” He’s not surprised, though, when Molly concedes that hers is a risky profession but she’s going to continue on with it anyway. The pair exchange “I love you”s, and Molly walks away, back to work. This scene is a warm blanket that comforts the viewer after an otherwise chilling first episode, providing hope that goodness will be restored and establishing Molly as true north on Fargo’s moral compass.

However, the next two endings, the final scenes of “The Rooster Prince” and “A Muddy Road,” provide no such comfort. Episode 2 ends with Mr. Numbers and Mr. Wrench dragging an innocent man across a frozen lake and lowering him head-first through a hole in the ice. While they ignore the man’s protests, the following lines from Eden Ahbez’s “Full Moon” are spoken in the background:

And in the evening
When the sky is on fire
Heaven and earth become my great open cathedral
Where all men are brother
Where all things are bound by law
And crowned with love

The scene is at once playful and eerie, presenting an auditory representation of utopia simultaneously with visuals representing extraordinary brutality.

The ending of Episode 3 showcases one Malvo’s techniques for destroying his hits. A sweating, pill-crunching supermarket magnate named Stavros (Oliver Platt) steps into a shower, over which scene, Malvo narrates the story of Moses, starting with his rescue from the Nile. When he reads the part where Moses kills an Egyptian man for brutalizing a fellow Jew, blood gushes out of the showerhead onto a horrified Stavros. Then, Malvo appears onscreen, smirking as he walks away from Stavros’s house and pulls a blanket over jugs of pigs’ blood in the trunk of his car. Clearly, Malvo is not a cookie-cutter bounty hunter – he enjoys subjecting his victims to theatric emotional manipulation.

After these endings, the viewer understands the extent to which darkness has infiltrated the world of Fargo and is alarmed by its atrocities. With these elements in place, Episodes 4–10 center on whether Lester will be punished for his actions, by Fargo, the police, or Malvo.

The final scenes of Episodes 4 and 5 emphasize Lester’s trouble. “Eating the Blame” ends with a simple moment of tragic comedy. In his desperation to escape Mr. Numbers and Mr. Wrench, Lester has punched a cop and sits in a holding cell. He is then joined by his pursuers, who tower over him and smile. In the next episode, Lester is hospitalized for a pernicious infection from the shotgun pellet lodged in his hand when Malvo shot the police chief in Lester’s living room. The episode ends as Molly opens the door to his hospital room and glares at Lester’s body, curled up in the fetal position and feigning sleep. This scene depicts two types of hunters, set apart by what motivates them. The predator, Lester, is driven by self-preservation, but the evolved hunter, Molly, is driven by empathy – she’s consumed by the need to right the wrong of her beloved mentor’s murder. Perhaps, according to this scene, the evolved hunter’s motivation gives her a strategic advantage and Lester will finally get his comeuppance.

However, Lester goes on the offensive in the next episode, “Buridan’s Ass,” and plants evidence implicating his brother Chaz (Joshua Close) in the murders of Lester’s wife and the Chief. The ending of this and the next episode (“Who Shaves the Barber?”) depict Lester’s and Molly’s reactions to the success of Lester’s plan – delight and panic, respectively. Here, crime is not met with justice, and these endings are the lowest point of the series’ moral crisis.

In the middle of Episode 8, “The Heap,” Fargo flashes forward a year. Lester is married to the beautiful, adoring Linda (Susan Park), owns Nygaard insurance, and accepts a Salesman-of-the-Year award with marked swagger. But will Lester really get away with it? In the episode’s closing scene, Lester’s security unravels when he spots a lighter-haired but unmistakable Lorne Malvo laughing at a hotel bar in Kansas City.

In the penultimate episode, “A Fox, a Rabbit and a Cabbage,” we find out that Malvo has been posing as a dentist for his next bounty. When Lester insists he knows Malvo, threatening to blow his cover, Lester opens the door for violence to reenter his life. He crosses his former mentor and sacrifices his new wife’s life to escape Malvo’s retribution, and it’s left to Fargo’s final episode, “Morton’s Fork,” to settle who comes out on top. Malvo and Lester die like animals – Malvo at the hand of policeman Gus Grimly, and Lester by falling through thin ice in a desperate escape from the authorities. The show ends with Gus, his daughter Greta (Joey King), and a pregnant Molly cozying up on a couch and watching TV. The timid Gus, now a mailman, has earned a citation for bravery, and Molly gets to be the chief of police.

The endings of each Fargo episode are skillful boiling points: they reach a level of dramatic intensity powerful enough to make a thematic statement, but stylistically quiet enough to avoid being gratuitous. Like that of the first episode, the ending of the finale is a warm, reassuring blanket. Though some might complain that letting the good guys triumph so wholly is a sentimental cop-out, in fact this resolution manages to be both satisfying and unconventional. The threat of Malvo – and his disciple, Lester – are defended by a nervous mailman and his pregnant, milkshake-loving wife. These two, apparently meek but surprisingly strong, are the ultimate top dogs. Their self-sacrifice, empathy, bravery, and neighborliness are realistically and entertainingly under siege in the series’ ten episodes – sometimes finishing with humor, sometimes with horror, but always distinctively Fargo.

Elizabeth Mutter lives in Amherst, MA.

Fargo: A Walkthrough & Discussion
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Review: Motherland

Book by MARIA HUMMEL
Reviewed by SUE REPKO

motherland

The epigraph to Maria Hummel’s latest novel Motherland is a short poem of the same title by the German poet Rose Ausländer (in German “Mutterland”).

My Fatherland is dead
They buried it
In fire

I live
in my Motherland—
Word

—translation by Eavan Boland

The poem encapsulates the novel, set in Germany in the last year of World War II, in which a young German wife and stepmother repeatedly risks her own life to keep her new family intact. Motherhood—stepmotherhood in this case—becomes her reason for being.

Review: Motherland
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