Critique de la Vie Quotidienne by Donald Barthelme

Elle Magazine - January, 1965.

Congrats, you're back in my good books again Donald. Sometimes it can be really hit or miss with you but "Critique de la Vie Quotidienne" is quite an achievement. Maybe even a great achievement in your short-story writing career. In contrast to "The Party", which I reviewed recently, the radically disruptive and experimental style in this story does not inadvertently cause the narrative to become incoherent babble. His post-modernist literary aesthetic tends to focus on fragmentation by utilizing a kind of kaleidoscopic perception of reality. He is interested in deconstructing conventional narrative forms and  pushing fiction beyond its own limitations. There is often a certain self-reflexivity in his work, highlighting the art of fiction as a way to challenge traditional forms of representation. He revels in the process of composition and radical technique, eschewing traditional plot or character development. Personally, this approach can often feel overwhelming and inaccessible. Yet, "Critique de la Vie Quotidienne" seems to find that sweet spot where Barthelme's fragmented prose and intertextuality merge smoothly into a satisfying reading experience. Plus, the irreverent and darkly absurdist humor really shines. 

This story offers abundant subtext and nuance waiting to be uncovered. It can be seen as a satire of bourgeois domesticity, a parody depicting the cliches of an unhappy marriage where alcoholism serves as a coping mechanism against the ennui of conventional responsibilities such as the 9-to-5 grind and child-rearing duties. The title is a reference to an academic research study by Henri Lefebvre, a French Marxist philosopher. In essence, this story becomes a metanarrative, an intertextual revision of Lefebvre's work within a postmodern cultural context. The intertextuality and mosaic narrative structure creates a palimpsestic effect--constantly altering the original text, revealing multiple layered meanings. 

For example, individualism and subjectivity is replaced by an amalgam of pop culture, magazines and various media. This is most prevalent in Wanda, the narrator's ex-wife, who is obsessed with reading Elle Magazine:

"Wanda empathizes with the magazine. "Femmes enceintes, ne mangez pas de bifteck cru!" Elle once proclaimed, and Wanda complied. Not a shred of bifteck cru passed her lips during the whole period of her pregnancy. She cultivated, as Elle instructed, un petit air naiif, or the schoolgirl look." 

Wanda has been stripped of individuality, she is a two-dimensional cliche of recycled phrases and social behaviors dictated by a popular fashion magazine. The narrator also falls into a similar category, where the enormous influence of mass media has cultivated a collective consciousness. Their conversations are contrived and predetermined simulations; a recycling of cliches, which lack any genuine emotional connection. They are so oversaturated with information where they have become a simulacra version of themselves. In the digital age of social media and TikTok, does this not sound familiar? 

Furthermore, this intertextuality allows Barthelme to draw upon a wide variety of scattered materials and references. Then, he rearranges these disparate elements into a type of pattern, emphasizing the tension between fiction and reality. These collected fragments become the story material, revealing the limitations of language as a means of representing a fragmented reality. Paradoxically, "Critique de la Vie Quotidienne" feels both inchoate and weirdly cohesive within this fractured narrative framework. 

You can read this story HERE.

Mr. F is Mr. F by J.G. Ballard

"I' want to...Pump you up!" - Little Giants

J.G. Ballard has a very twisted mind, that much is certain. I chose this short-story based entirely on the odd title that immediately grabbed my attention. Ballard's titles often carry thematic weight and "Mr. F is Mr. F" is no exception, hinting at the mirror effect, duality, identity crisis and tautology. The "F" stands for Freeman, which is an ironic play on words, since the protagonist is the complete opposite of a free man. He is trapped in a nightmare scenario, aging backwards in a perversely Curious Case of Benjamin Button. I might be inclined to classify this story as a combination of science-fiction and horror. The Ballardian escape from contemporary society shows up again, a race against the clock before subjectivity is erased. This is a disturbing, creepy and suspenseful tale with a twist ending that would probably make O. Henry proud.

The Party by Donald Barthelme

Who invited Mr. gorilla to the party?

You've gone too far this time, Donald. I'm usually down for your unique brand of post-modernist surrealism but unfortunately, it just came across as nonsensical tomfoolery. Granted, this was your intention here, to present an unreality through shattered glass, but it just wasn't an enjoyable reading experience for me. 

Perhaps a closer reading of the text would reveal the nuances regarding representation within a fictional reality, consumerism, mass media, advertising, pop-culture (one of the dinner guests is dressed up as King Kong), simulacrum, desocialization, the failure of language or the loss of communication in our contemporary existence. There's a lot happening underneath the the surface here but the problem is wading through the thick layers of absurd confusion. 

You can read this story HERE.

The Cop and the Anthem by O. Henry

"Park benches are the silent witnesses to the ebb and flow of human existence." - Anonymous

I meant to review "The Cop and the Anthem" last weekend during my O. Henry marathon/binge-fest but never got around to it. Better late than never. Surprisingly, as far as I can recall, this is the first story of his that I've come across that doesn't completely rely on the twist ending. Sure, it enhances the dramatic irony of the protagonist's fate and brings the narrative full circle in terms of thematic resonance but it would still be a solid story on its own. Human suffering, social inequality, and the potential for redemption are key themes that are intertwined in typical O. Henry fashion.

Soapy, a destitute soul, faces the looming threat of freezing to death on the harsh streets of New York City as winter approaches. Determined to find shelter, his desperate plan hinges on committing a petty crime or misdemeanor to secure a warm bed in prison on the notorious "island," likely Rikers. However, fate intervenes, thwarting his every attempt, which produces a darkly humorous thread throughout the narrative. The reader is intended to empathize deeply with Soapy, especially as the narrative crescendos with his poignant resolution to earnestly strive for an escape from poverty. The story's cynical twist ending feels both inevitable and sorrowful, serving as a stark commentary on the realities of life for those living on the margins of society.

Also, I learned a new word: eleemosynary. It means relating to or being dependent on charity; charitable. Cool.

You can read this story HERE.

The Rise of Capitalism by Donald Barthelme

Das Kapital.

Donald Barthelme is at it again but this time he is explicitly deconstructing the short-story form through a fragmented consciousness. On the surface, it might seem like experimental nonsense but I assure you, there is method to his madness. 

Split into nine different sections (one of them is merely a list of the top 5 "The Achievements of Capitalism"), the fragmented narrative is a parody of representation on the subject of capitalism. Each paragraph is an independent perspective building upon the preceding one to form a incoherent whole. Ironically, the search for meaning becomes meaningless within the cacophony of contradictory discourses. In the age of social media like twitter feeds/wars where information is shared, absorbed, contested, disseminated and regurgitated via sound bites, this story feels eerily prescient. There is a narrator named Rupert who seems to be the guiding voice throughout the story but even he is reduced to abstraction. The sociopolitical commentary is scrambled, demystified and recycled in parodic fashion. Even banal reflections of Marx appear alongside absurd anecdotes, ranging from the King of Jordan in his palace listening attentively to the ham radio or an account of Balzac going to the movies that causes a chain-reaction where his mistress's husband ends up dead. These jarring interludes are quite funny, further highlighting the author's caustic wit and unconventional humor. 

The constant subversion and rearrangement of theses ideological perspectives is disorienting, rightfully so. Perception is flawed and Barthelme seems to be asking the question: With the the total breakdown of language in contemporary society, are reality and truth merely fictional abstractions? If this story serves as a response, the end result is fragmentation, degradation and chaos. After all the literary shenanigans and hijinks, the final section turns towards the reader, encouraging them to filter through the nonsense and formulate their own thoughts about capitalism, especially regarding how to fight it. According to the narrator, "fear is the great mover in the end." Take it as you will. This story showcases Donald Barthelme at his most playful, whimsical and erudite. 

And I'm here for it. 

You can read this story HERE.

Capgras by Tommy Orange

Kokopelli.

I am slowly making my way through this anthology of 'Indigenous Dark Fiction' called Never Whistle at Night and so far it has been a mixed bag. I deliberately selected this story based on the author's acclaim and having enjoyed his debut novel There, There. Tommy Orange has quickly established himself as one of the hottest indigenous writers on the literary scene, so my expectations were pretty high. Unfortunately, this short-story was a complete letdown, leaving me baffled as to its inclusion in this anthology. 

The title, Capgras, refers to a psychological disorder in which individuals perceive others, usually loved ones, to be imposters. Great, sounds intriguing. Too bad this concept is barely explored, a wasted opportunity at establishing some real tension, drama and horror elements within an indigenous context. Instead, it's a slow burn with a dull linear plot that drags on and on without any intended purpose. The protagonist is an indigenous author doing a book tour in France and he brings along his wife and son. He has a nervous breakdown at one of the book signings, there some references to mythological Kokopelli and the story just sort of stumbles towards a lackluster ending. The most interesting and heartfelt moments emerge during the scenes where the father and son are riding around France on an electric scooter. Then again, I have no idea what the takeaway is from this story. Any allegories or metaphors went completely over my head. Hopefully this author can redeem himself with his sophomore novel that came out earlier this year.

The First Kiss by Clarice Lispector

Mon amour.

This is a very unusual story. 

It begins with a tender and affectionate moment between a young couple as they share their first kiss (hence, the title). The narrator provides a cogent argument in the opening paragraph that jealousy is inextricably linked to love, so she asks him if he has ever kissed another woman before. Now, this is where one might expect his answer to follow certain narrative trajectory but the author subverts these reader expectations. Instead, we get a lengthy poetic flashback to his halcyon days during a school field trip where he locked lips with his first crush. But get this – it wasn't just any regular smooch fest. Nope, it was with none other than a gorgeously sculpted drinking fountain in the shape of a woman, looking all ethereal and elegant! Now, that's what I call a plot twist served with a side of whimsy. Additionally, his sensual experience with the statue contains plenty of sexual metaphors and innuendos. 

See what I mean? Very unusual. 

You can read this story HERE.

The Last Leaf by O. Henry

Until the last leaf falls...

By Jove, he's done it again! Among the array of stories I've binge-read this weekend, "The Leaf" is probably my favorite. Once more, O. Henry showcases his mastery of the unexpected with yet another cleverly crafted twist ending. Despite the clues laid out before me, I failed to make the intricate connections all leading up towards the poignant finale that took me by complete surprise. It's only a matter of time before he falters, right? Until then, I will savor his remarkable winning streak. 

Sue and Johnsy are both painters and share an apartment together in Greenwich village--are they friends or possibly lovers? It remains unclear. Behrman, an old artist living downstairs, is a seemingly disgruntled curmudgeon that claims he has failed and has yet to create his masterpiece. When Johnsy comes down with a serious case of pneumonia, she spirals into despair and believes that she will die once the last leaf on the tree outside her window falls. Sue becomes a caregiver to Johnsy but her health continues to decline. I will avoid spoiling the ending but themes of sacrifice and the transformative power of art remain at the forefront of this story. The author is keen to emphasize art's magical ability to inspire perseverance, and instill a sense of hope even in the most difficult times. 

You can read this story HERE.

Springtime A La Carte by O. Henry

Click. Clack. Click. Clack.

An intrusive narrative voice is the perfect vehicle for O. Henry to deliver his signature plot twist by playfully manipulating certain reader expectations. The opening sentence is fantastic and indicative of the narrators tendency to break the fourth wall by directly addressing both the reader and main protagonist while providing literary critiques on the art of writing: 

"It was a day in March.

Never, never begin a story this way when you write one. No opening could possibly be worse. It is unimaginative, flat, dry and likely to consist of mere wind. But in this instance it is allowable. For the following paragraph, which should have inaugurated the narrative, is too wildly extravagant and preposterous to be flaunted in the face of the reader without preparation."

The narrator's witty remarks and ironic commentary recur throughout the text, setting the humorous tone. They even offer life advice to the main protagonist who is also a writer, creating a sort of meta-narrative. Sarah is a typist who writes the daily menu cards for a fancy restaurant in New York but she also seems to be in the process of writing her own story at the same time. She is engaged to a farmer from the countryside but has not heard from him in several weeks. How will they ever find each other again? This story takes place during the late 1800s or early 20th century before phones were invented. I suppose she could always write a letter to her finance or return to the farm but then that would surely diminish the drama and tension. The narrator's intrusion allows them to exert control over the story, guiding the readers interpretation and cleverly steering the plot towards its inevitable twist ending. However, while the final outcome may not achieve the same "wow factor" as seen in the author's other works, it is still a solid addition to their literary repertoire.