Showing posts with label southern gothic. Show all posts
Showing posts with label southern gothic. Show all posts

The Shadows Kith and Kin Review

The Shadows Kith and Kin
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Another five stars collection of (partly) unreleased tales by Hisownself.
Do not miss the return of Reverend Jebidiah Rains from "Dead in the West" his smoking guns fight again against Evil!
Another interesting issue is the reprinting of the novellette "The Events Concerning a Nude Fold-Out Found in a Harlequin Romance": pure Lansdale, yummm...
But all the contents are outstanding so be sure you'll have a good read.

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And the Ass Saw the Angel Review

And the Ass Saw the Angel
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Having arrived late on the Nick Cave bandwagon, I spent several years listening closely to his albums and finally decided it was time to take a crack at the book to which there are many allusions in his music. For example, Crow Jane, a character from one of Cave's most violent songs, is re-introduced here as the vile woman who whelped the hapless narrator, Euchrid Eucrow. So first I read the reviews, and then I tackled the actual book itself.
Is "And The Ass Saw The Angel" hard to read? Yes. Are there made-up words? Yes. But then there are many novels, great and not so great, that are both hard to read and that contain many seeming nonsense words and phrases. On reading Cave, I think of Faulkner (made-up places and words), Flannery O'Connor (particularly the parallels with her novel Wise Blood), and of H. P. Lovecraft, whose novels and short stories are packed with the kind of degenerates who people Cave's Ukulore Valley. Many of the words that Cave uses, and may be accused by some of inventing, are not inventions at all but rather are either obscure or archaic words. Some of the actually invented words are agglutinations of two or three real words, so put together as to make more vivid the idea being expressed. Cave is obviously a master wordsmith and his command of English demands a similar level of erudition from his readers. One of those hefty dictionaries seen in university libraries just might be needed by some.
The story itself is populated by all the lowest, most degenerate and filthy specimens of humanity imaginable. Narrator Euchrid Eucrow, born mute, is himself the unwholesome and wretched spawn of diseased loins. It is telling that the Ukulore Valley's most sympathetic characters are the town whore and the daughter she bore in death.
The Ukulites themselves are above the others at the start, the God-chosen masters of the valley. Hard-working, God-fearing, and sober, only they have a real future there and a stake in the status quo. Everyone else is there to be used when needed, but officially ignored otherwise. I don't know about other readers, but though this novel is putatively set somewhere in the American South, I detect a whiff of Brigham Young and the Mormons about the Ukulites story. Cave knows his Bible, and this book is replete with Biblical quotations and allusions.
I don't want to ruin the story by telling it here, but suffice to say it is a brutal, bloody, filthy, vulgar and sometimes hilarious mockery of bigotry and religious zealotry. Euchrid, rejected and abused by all and sundry because of his origins and his condition, retreats into the confines of his ramshackle, jerry-built Kingdom of Doghead and plots revenge on all who have made his life sheer misery. How it all ends is a comic surprise.
And The Ass Saw The Angel is not a bad literary debut for a man best known as a songwriter. The story and the language betray Cave's longtime fascination with the American South. And this is where it really loses a star. Cave tries to make his characters sound "southern" by having the narrator (Euchrid Eucrow) say words like "ah", mah" and "unnerstand" in place of proper English enunciation, but then he often forgets that mid-sentence and lapses into Standard English or sometimes even lets loose with a bit of Aussie slang! Cave or his editors should have been more careful. But though the book is filled with graphic descriptions of human and animal cruelty of the basest sort, intrepid readers who are not literal-minded may find this to be a very engrossing novel noir indeed. Four bright stars and may Cave write soon again!

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Classic Crews: A Harry Crews Reader Review

Classic Crews: A Harry Crews Reader
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If you like the bizarre "Southern Gothic" of Carson McCullers and Flannery O'Connor -- and if you appreciate thoughtful variations on established themes -- then Harry Crews is a novelist well worth your time. He'll probably never make it into the canon, but his work compares favorably with the best American postmodernists, and this is one time when it's best to forget what your English teacher tells you and form your own opinion. Unlike some of the postmodernists, Crews's startling originality is always rooted in palpably human experience; his characters, strange though they may be, never cease to function as PEOPLE, first and foremost. Highly recommended for readers who appreciate a vibrant style and a conscious twist on familiar literary traditions. One of the best American writers of the past 30 years.

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Includes two of Crews' full-length novels, The Gypsy's Curse and Car, his autobiography, and three of his essays.

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A Childhood: The Biography of a Place Review

A Childhood: The Biography of a Place
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Although this book is not a typical work by the literate master of the hard South, it is a testament to his talent. This book made me see and feel the life of a 6 year old dirt farmer in Bacon Co, Georgia, and also give some insight into the basis of characters in Crews' fictional works. This is one of the best quasi-memoirs ever written, and even has a slight belief in human goodness not seen in his other work. Mr. Crews' more typical works (such as Feast of Snakes or All We Need of Hell) are very good novels in their own right, yet Childhood stands apart and above all of his other books combined. If you read nothing else by Harry Crews (which is not a good idea--you should read many of his books), this is the one to choose.

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A Childhood is the unforgettable memoir of Harry Crews' earliest years, a sharply remembered portrait of the people, locales, and circumstances that shaped him--and destined him to be a storyteller. Crews was born in the middle of the Great Depression, in a one-room sharecropper's cabin at the end of a dirt road in rural South Georgia. If Bacon County was a place of grinding poverty, poor soil, and blood feuds, it was also a deeply mystical place, where snakes talked, birds could possess a small boy by spitting in his mouth, and faith healers and conjure women kept ghosts and devils at bay.
At once shocking and elegiac, heartrending and comical, A Childhood not only recalls the transforming events of Crews's youth but conveys his growing sense of self in a world "in which survival depended on raw courage, a courage born out of desperation and sustained by a lack of alternatives."
Amid portraits of relatives and neighbors, Bacon County lore, and details of farm life, Crews tells of his father's death; his friendship with Willalee Bookatee, the son of a black hired hand; his bout with polio; his mother and stepfather's failing marriage; his near-fatal scalding at a hog-killing; and a five-month sojourn in Jacksonville, Florida. These and other memories define, with reverence and affection, Harry Crews's childhood world: "its people and its customs and all its loveliness and all its ugliness." Imaginative and gripping, A Childhood re-creates in detail one writer's search for past and self, a search for a time and place lost forever except in memory.

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