High Lonesome: 40 Years of Stories from Joyce Carol Oates

Photo: from books.google.com at this link

Better known for her Gothic stories, especially the heavily anthologized "Where Is Here?" and a few others, this is still an extremely readable and often striking collection of short stories spanning 40 years, from 1966 to 2006. As with all collections of this length, and shorter, you may find some swings and misses here, but there are far more hits than misses. At worst, a few stories were okay, unimpressive, but not bad, exactly. Some are stunning. Some are memorable, sometimes for the writing, sometimes for the things that happen. (In one, an unhappy woman in her early 20s allows herself to have a messy, unstopped period while she and her family spoke with a priest at a seminary, where her brother would've been kicked out but for that spectacle.) Other stories are memorable for what they don't show, or say. (In one, a young man kills himself in his car. In the glove compartment is found an object that may insinuate he also would've killed someone else, but for some reason didn't. The story ends with a character asking the other what that object had been for--and the story ends right there.) Anyway, there are 11 new stories here (as of 2006), one of them the title story. This one is also perhaps the best of the bunch--a nice comment to be able to make, considering Joyce Carol Oates has been writing now for over 50 years, and apparently hasn't lost a thing. If anything, she may be getting better. So these are all good, and highly recommended, though I prefer her Gothic stories, none of which are here.

A short bulleted commentary:

--"Spider Boy" is very good. Chilling and short, as usual about the unknown side of someone's personality.

--"The Cousins" is an award-winning story.

--"The Gathering Squall" has a nice metaphor, tying a painting in with the story's theme. I tried Googling the painting, couldn't find it. Possibly invented for the story.

--"The Lost Brother" is a good story about the hopelessness of having hope for a lost soul in your family. And perhaps why you shouldn't.

--"High Lonesome" motivated me to start my own story. The best part of the story--the old, desperate, lonely man getting pinched while only wanting conversation from a hooker who's not a hooker--isn't even the main part.

--"Upon the Sweeping Flood" is good and memorable, and has a recurring image of children suffering at the hands of insane adults.

--"At the Seminary" was referred to above. Not to be missed, if only for the scene I described.

--"Where Are You Going...?" is perhaps the most anthologized story here, one the author says she regrets having to include in this volume because it's so prevalent elsewhere. I have it in the tons of other sweeping anthologies downstairs. However, it continues to impress, even after a great many readings. Sly, slow, charming, disturbing, seductive (not in a sensual sense) evil has perhaps never been captured so well, not even by Hawthorne.

--The collection is broken down into the decades. Stories from "The 1970s" are all good, though representative (except for "Manslaughter") of John Updike. Maybe Cheever, too.

--"The Hair" was a very good, very John Cheever, expose of suburban couples and the illusion of social and marital perfection that one couple holds over the other, until the ending. Reminiscent of reality; been there, done that. Got away just in time.

--"Life After High School" was referred to above. Interesting. The woman in the story reminds me of someone I know.

--"Mark of Satan" was a story I was highly critical of on my blog, a long time ago, for reasons that now escape me. I'd read just the last few stories of the whole collection at the time, and responded in anger about this one. I think I mentioned I thought it was a rip-off, but it's not, and I can't even begin to tell you what the hell my problem was. Anyway, it's okay, not great and not bad.

The title, by the way, is a phrase that means "drunk" or "bender," but which sounds depressive to me as well. This all makes sense, because there's plenty of all three here. Most of the characters and stories inhabit upstate New York, Richard Russo's (Nobody's Fool and Empire) stomping grounds, or New York City, when the stories sound a bit like Updike and Cheever.

And I would love to know her writing schedule. She's so prolific, she makes Stephen King seem like J.D. Salinger or Harper Lee. 

The Voices -- A Very Short Book Review

Photo: The hardcover's cover

This one's a bit of a downer at the end, but you won't be surprised at the conclusion. It didn't really have any other place to go. The main character is a guy who creates movie scores, who gets told that a movie in production, Star Wars, is a sure bomb and not one he wants to score. (That was a rare amusing moment in this book.) Anyway, he's fallen on hard times in a Victorian home, and when he suddenly gets voices (some sinister) on his tape, he sees it as a cash cow--voices from the dead as part of a movie score! That either sits okay with you, or it doesn't, and that will mandate how much of this book you can take.

It's written well enough, by Frank Tallis, better known for his Liebermann Papers books, which take place in Freud's Vienna of 1902 or so. This one takes place in the 1970s in England, where Tallis actually lives. The atmosphere is okay, and the creeps are okay, though you may need a little imagination to get the full effect.

It's better than the film White Noise, which was really terrible, actually. Parts of it also reminded me a little of The Shining (which was better than this book), especially when Jack Torrance accuses his wife of being hysterical and purposely trying to ruin his creative career. Also similar is that it all takes place in a house that is obviously haunted, and obviously a danger to everyone, especially the child. Unlike The Shining, this one ends, well...I won't spoil it, I guess. But if you rejoiced when Danny lived in The Shining, you'll be disappointed here. Consider yourself warned.

That's my biggest problem with this book, and it's not really Tallis's fault, I guess. But I was also watching the latest (and worst) Paranormal film last night, and they both had the same huge problem: Freekin' stupid and careless parents who ignore the obvious danger to their child because of their own ignorance and selfishness. The film was so bad that I wanted to openly strike the stupid, self-centered, self-obsessed parents, and I almost felt as strongly with the parents in this book: the husband selfishly put everyone in obvious danger, especially his infant. And the wife was too weak and self-obsessed to pick up the daughter and get the hell out of there.

As I said, the latest Paranormal movie was much worse, and even included a priest who said that 6 a.m. on June 6th was an obvious 666 mark of Satan (6th hour of the 6th day of the 6th month--Get it?!?), which is possibly the worst writing I've ever seen in any movie of any kind, ever, and an insult to priests everywhere. (Your avergae priest knows that the 666 of Revelations is an obscure symbology that certainly doesn't mean anything like this movie says, especially since a completely different calendar was used by the writer, era and part of the world of The New Testament's origins.) And I'd already harbored extreme ill-resentment towards the parents in this movie.

Anyway, this book's parents are more realistically drawn, but still came under my ire. And the ending...Well, I saw it coming, and you probably will too, so it didn't effect me as much as it could have. If you can handle that kind of an ending--and there's no judgment on my part if you can't, but this ending represents the tragedy of human self-centeredness and weakness, see?--then this will be an effectively creepy book for you. If you can't, if headlines of that sort bother you too much, then that's certainly understandable and you should skip this.

American Horror Story: Murder House

Photo: 1120 Winchester Place, Los Angeles, CA.  This is the real house used in the series.  From the show's Wikipedia page

I decided to view Season One of American Horror Story after viewing Season Two and liking it so much.  Season One was also good, though not as much as Season Two.  The writers seemed to have written themselves out of the main characters, as the secondary ones take over here, and where they go is interesting, but since they're already dead, you care less about them as characters.

At first the very dysfunctional family of husband, wife and (suicidal) high school daughter move into this (very) haunted house.  Turns out, the house has many ghosts in it: a gay couple, murdered fewer than three years before the current occupants; a surgeon who can't pay his bills, and the wife who shot him, and then herself; one of his freelance abortion patients; and, most dangerously, a teenage psychopath who had killed many students in his school before he was shot in his bedroom by the police.  He's a very angry, or still-psychotic, ghost who later kills the gay couple (and does something really nasty to one of them with a fireplace poker), and later rapes the mother, a current occupant, who later dies giving birth to what the show insinuates is Satan's spawn.  Was the killer used by Satan, or was he evil to begin with?  Or both?  The viewer can decide, but the characters themselves conclude that he is just pure evil, and the Devil's spawn angle is downplayed, though never really done away with.  And there are many, many other ghosts I haven't written about here, some of whom have little, if anything, to do.

Therein lies the problem of the first season: the writing in the last six episodes or so meanders, and seems very unsure of itself as it does so.  The Black Dahlia is introduced without reason, more as an homage to the L.A. noir style itself, and maybe James Ellroy, who famously wrote about her, and who infamously said she may his mother, or that her killer may have been his father, or both, I forget.  Other homages include Francis Ford Coppola's Dracula, in the sense that the movie's music is played in almost every episode.  Other movies in the Dracula, Frankenstein, and Southern Gothic modes, as well as lots of Rosemary's Baby, The Omen, and the like are paid homage as well.  Part of the joy of the series is catching and appreciating all of them.  You don't have to know them, though, to appreciate the series.

But back to the uneven writing.  What to do with the family?  Well, the writers didn't seem to know, either.  What to do with the many very unhappy ghosts?  In a nice twist, the family of ghosts ends up a much happier trio together than they ever did while they were alive.  Is the American family unit the "horror story" of the title?  It certainly seems that way, except the adults are so caught up in their own garbage that they don't even realize their daughter is dead.  (Though, to be fair, she doesn't know this, either, until she's told.)  The most wacky thing to me was that none of the ghosts seems to care too much that they're dead.  This is especially true of the father at the end, who is the only one left alive, and who seems to have the most to live for--his new child.  When he's killed by the ghost of his very young mistress (Kate Mara, older sister of Rooney Mara, from The Girl with the Dragon Tatoo), he seems mildly chagrined, at most.  The mother also doesn't seem to mind, though she knows she's without at least one of her newborns (she's told the first one died, but it didn't, and that's the one she ultimately ends up caring for); she also doesn't know her daughter's dead until her daughter visits her and says to let go of the pain, which the mother does.  (This seemed like too much of a condoning of suicide for me, which is how the daughter died, as well.)  Anyway, if the characters don't seem to take their lives very seriously, how can the viewer?

And that's the whole point at the end: the series creator's don't want you to feel sad for the family, and you don't, as they're clearly happier and better off than they had been.

How does it want you to feel about the Jessica Lange character, the devious and unsaintly and witchy neighbor who had lived in the house with her psychotic son, her wayward husband, her loose maid and her other two children, all of whom die before the very end?  Well, good and bad, in turns, though at the end she's gotten what she's asked for--a grandchild--but does she really want to take care of Satan's spawn?  I don't know, though I doubt it.  Jessica Lange does great work with a meandering role that makes her a victim and a killer.  You feel badly for her, because most of her siblings are dead and/or psychotic (and, in one case, both), but you also see her kill her husband, their maid, and almost the daughter next door.  In that last case, the daughter and her mother are victims of three psychotic people who want to kill them as others had been killed in the house.  Luckily, one of them eats the poisoned cupcake meant for the daughter, and...here's an example of the meandering.  Turns out, this entire series of events was unnecessary to the outcome of the whole thing.

So, at the end, this was like a good horror movie.  Riveting and sometimes creepy while watching it, but the second you think about the whole thing afterwards, it is very easy to see its many flaws.  But, if you haven't seen any of it yet, I do recommend it, especially if you're knowledgeable about the genres it pays homage to.