One of T.C. Boyle's great gifts is to take subjects that would slide into polemic in most writers' hands and write about them even-handedly and dispassionately, reserving the force and intensity of his language for his characters and story rather than the ostensibly political topic at hand. Moreover, when his so-inclined characters launch into their jeremiads, you never get the sense that the author is on his soapbox, undermining the whole enterprise. On the contrary, Boyle's characters gain credibility and identity in these moments, rather than sacrificing them at the altar of the author's misguided desire to use them to speak his own mind.
Boyle has written the occasional, seemingly topical book—that is, stories that concern politically charged topics, such as The Tortilla Curtain, about the clashing lives of an illegal immigrant couple camping in Topanga Canyon and two gated-community middle-class liberals, which never dodged the volatility of the issues surrounding illegal immigration but mused, ultimately, on the complexities of realizing the American Dream, and the inevitability of frustration and hypocrisies great and small in the face of it.
Boyle's newest book, When the Killing's Done (Viking Press, due to drop February 22, 2011), focuses on the cataclysmic clash of two mighty wills (and two somewhat lesser ones) on opposite sides of a bitter ideological divide. Alma Boyd Takesue, a National Parks Service biologist spearheading the extermination of invasive species that are attacking the native animal populations of the Channel Islands off the California coast, goes 15 rounds with Dave LaJoy, an animal rights activist determined to stop the killing at any cost. The root of the problem is several centuries of intrusion by the original invasive species—human beings—whose occasional habitation and efforts to farm and raise livestock and hunt and vacation on Anacapa and Santa Cruz have compromised the ecosystems of these wild and sparsely islands located 2–3 hours by boat from Santa Barbara. The Parks Service's goal is to remove rat and feral pig populations before they kill off indigenous species that evolved there by natural—or at least prior—means. It's a scientifically logical plan but also a brutal one, the first project involving poisoning thousands of rats en masse, the second carried out in part by importing expert hunters from New Zealand to entrap and shoot 5,000+ pigs. There's certainly a reasonable ecosystem-restoration argument there. But given that the preservation of some species (such as the native fox population) involves the extermination of others, ask LaJoy and his folksinger girlfriend and fellow activist Anise Reed, who or what gives the Parks Service the right to make those arguably god-playing calls?
What makes When the Killing's Done such a gripping tale is that it's not about choosing a side, or determining who gets to live. Ultimately, it's about how life can get in the way of righteousness (and how funny and infuriating it can be when it does), how the notion of what's "natural" in our world or ourselves defies any attempt at rational reduction, and the hubris of humans who try—especially those who try hard—to remove their footprint from the world.
I'm reminded of something former Village Voice music critic Robert Christgau once wrote in a review of the 1982 album by The Police, Ghost in the Machine, in response to the group's assessment of the human race as "spirits in the material world." While conceding that the group was part right, Christgau asserted, "We're also matter in the material world, which is where things get sticky." Just because we, as humans, can think on a higher plane than animals doesn't mean we can think or theorize or strategize our way out of impacting their lives, or fixing those lives as cleanly as we'd like, as Boyle's characters reluctantly learn.
That said, When the Killing's Done isn't as much about humans' tempest-tost plight as the literal tempests that toss his characters thrillingly and terrifyingly, beginning with the stunning storm story that opens the book. But it's something that characters on both sides of the conflict struggle with: Respect nature, control it, fight it, get out of its way, analyze it, assist it, restore it—whatever your plans may be, however well you've designed them, and however much your education or commitment may qualify you to make them, they'll always be limited because you're part of it, and everything you fail to take into account is part of it too.
The best way Boyle signifies this fact is the way he dramatizes each character's (except LaJoy's, whose adopted convictions are more pissed-off than principled) historical connection to the Channel islands. These are engrossing histories of adventure and pain, each in their own way linked or intersecting with the biological detritus of human presence on the islands. The opening chapter in particular, the tragic tale of Takesue's grandmother's shipwreck, is so real as to make reading it surreal: at once, you're utterly captivated by the story, and at the same time starstruck by how well this man writes a storm.
And though this new tale takes us to wonderful new places, those of us who know the thrill of a new T.C. Boyle novel have been here many times before.
Pre-order When the Killing's Done from Powell's Books!
Monday, December 20, 2010
Tuesday, August 17, 2010
Review: The False Friend by Myla Goldberg

In The Counterlife, Philip Roth describes one of his characters as indifferent “to the consequences of transgression.” For most of us, the most dangerous, and often most intriguing people we encounter in our lives are those who regard their world as some sort of rogue laboratory of human behavior in which they’re willing to try just about anything to see what will happen as a result. We’re fascinated by these people because they not only recognize the fragility of the fabric that sustains social equilibrium in our everyday lives, but see no reason not to tear it apart before it unravels on its own.
The rare human beings who approach transgression with perverse fascination and the power they exert over the reticent rest of us is part of what Myla Goldberg seems to explore in her entrancing new novel, The False Friend. But that’s just a guess; the book’s title, which refers, in part, to a linguistic term for apparent etymological cognates with divergent meanings, is itself a cipher. And at the heart of the book is a reckoning for the long-term impact of manipulativeness, bullying, and cruelty among adolescent girls, which is a subject I’ll admit to knowing very little about. The book is also about dissecting the fact, fiction, and selective memory of the disappearance of a child two decades after the fact, with a Mystic River-like take on the way the abduction predicated the future lives of the girls at the scene, and the women they became.
The False Friend tells the story of Celia Durst, a 32-year-old auditor for the city of Chicago, who comes to the realization that she’s repressed the memory of how her best friend, Djuna, disappeared as they were walking in a forbidden forest one afternoon 21 years earlier. Instead of being abducted by an adult in a brown car, Celia realizes, Djuna fell into a hole—most likely down a well: “One minute she was there, and the next the earth had swallowed her up.” Celia concludes that her 11-year-old self quickly and decisively fabricated the abduction story because she believed that Djuna, a merciless bully and as much her enemy as her friend, got what was coming to her. She flies home to upstate New York the next day to confess.
One of the first things we learn about Celia and Djuna is that their friendship was largely based on their ability to torment three less confident girls—“rodent[s] to their parliament of owls”—who want, with varying degrees of desperation, to enter their circle. But I don’t think The False Friend is in any way a retread of pop-culture musings on teenage girl cattiness like Mean Girls or Heathers; for one thing, those are movies about high school girls, and The False Friend is a novel about kids who inflicted their damage on one another in the sixth grade. (If anything, The False Friend is more like E.L. Konigsburg's Jennifer, Hecate, Macbeth, William McKinley, and Me, Elizabeth, but for grownups.) The teen/adolescent distinction is significant because Goldberg draws a clear line between the pre-sexual years and the ones that follow, characterizing the searing intensity of adolescent friendship as “the inarticulate ardor that presages sex.” Much as in her first novel, Bee Season, there’s an undercurrent of mysticism here, although not an explicit one. The False Friend portrays the command that a girl like Djuna can have over others for reasons that have little to do with popularity or looks, the magnetic sway of a fierceness that comes from not being afraid of the things everyone else is. It’s a power too compelling and too frightening to resist.
As Celia attempts, unsuccessfully, to convince her parents, her boyfriend, and—after tracking them down—the three former friends/disciples who were at the scene of Djuna’s disappearance of her newly reconstructed version of events, she begins to recognize the trajectories of all their lives and how they have radiated from their acquaintance with Djuna and the circumstances of her disappearance. Celia discovers in her parents’ rigid reluctance to cross carefully defined boundaries of conversational propriety why she found Djuna’s outspoken fearlessness so compelling. What’s more, she connects her stagnant relationship with her boyfriend, Huck, to her inability to reconcile the cruelty of her Djuna-era self with the more considerate self she’s constructed in the 20-year aftermath of what remains the most intimate relationship of her life: “’We will never be closer to anyone than we are to each other right now,’ Djuna vowed, to which Celia had agreed with all the certainty eleven years of life could provide. Twenty-one years later, she realized it was still true.”
There’s something about this book that just makes me want to quote it endlessly; it’s not just that it teems with exquisite turns of phrase, but that each one has the dual purpose of piercing perceptiveness and absolute cogency to the heart of the story and the characters. And a lot of those lines are damn funny too. Of course, there are other writers who do this as well as Goldberg (the first name she invokes in her acknowledgments, Nathan Englander, is certainly in her league, although, the title track of For the Relief of Unbearable Urges notwithstanding, he’s not as funny). But Goldberg’s words are so enveloping that to read her books is to inhabit a universe all her own. (A point perhaps best underscored by the fascinating marginalia in her second novel, Wickett’s Remedy, which simultaneously break the spell of narrative flow and effectively fill out the world, as if there’s the narrative and the rest of the Wickett’s world, and nothing else exists.)
In a sense, The False Friend is the anti-coming-of-age novel. Far from a saga of innocence lost, the book presents the arc of maturation as a makeshift corrective, something more like placing a band-aid of decency over the self-absorbed savagery of childhood. And though at first it seems to be venturing into the “did she jump or was she pushed” banality of, say, A Separate Peace, the story Goldberg ends up telling is false friend (in the etymological sense) to any of its apparent literary cognates.
But what The False Friend does have in common with the best and truest books about childhood is the way it captures the feeling of standing on the precipice of a new, adult world that’s deliciously terrifying, that first moment when games stop being just games and danger becomes real. There’s a scene in The False Friend that describes a game that Celia and Djuna play, hiding behind a freezer-sized electrical box. It’s a sacred place to the two of them because they believe they’re the only people who have ever gotten close enough to the box to hear its foreboding hum. Hiding behind it with whatever they’ve just stolen from their parents, “They’d taken their first steps into the hugeness of the universe beyond, and found each other … the moment of union, the strongest alliance she’d experienced outside the inherited bonds of family, and the most powerful, vulnerable thing she knew.”
When I was 8 years old, a boy in my hometown, friend of a friend, was killed by electrocution while playing hide and seek in an electrical box much like the one Goldberg describes. His neighbor and best friend, the kid I knew, was badly burned as well. Who were those kids to each other, and what did that box mean to them before it killed one of them? What kind of adults did the kids who survived that game become and how much of it was just momentum from that life-changing game? I suppose I’ll never know, but I’m sure there’s more to the story than I ever thought to ask, or had any right to know either.
The False Friend is about all of that, and at the same time is a story of characters so rich in idiosyncracies that it's not really about anything I might project upon it. But I have no doubt that The False Friend will retain its hold on me for quite some time, which I suppose is no surprise, coming from a writer whose work is as consistently, compulsively affecting as Myla Goldberg’s.
Pre-order The False Friend from Powell's Books
Thursday, March 18, 2010
Review: The Dead Republic by Roddy Doyle

By the end of the book Henry Smart had crawled into Monument Valley to die, only to find Henry Fonda relieving himself on him on the set of a John Ford movie. Ford resurrected him, determined that Henry Smart’s story would become the basis of his greatest film. The sad irony of Ford’s plan, though, was that A Star Called Henry had been the makings of a great film, but over the course of Oh Play That Thing—a book that would have made a disjointed film with a few great moments—Henry’s life had become much less film-worthy.
This notion of mythology superseding history, of the abstract and vague and imagined replacing the concrete—and the perversion of Irish history, politics, and national identity that the myth engenders—is the prevailing theme that runs through all of The Dead Republic as it moves across two continents and sixty years of Henry Smart’s life. And Henry's insistence on the concrete over the abstract is arguably the theme that detours around much of Oh Play That Thing! and connects The Dead Republic directly to A Star Called Henry. One of the most memorable moments in A Star Called Henry came when Henry and his brother, as two illiterate gamins, went to school for their two days of formal education and the teacher—Henry’s future wife, Miss O’Shea—asked Henry for the sum of 2 + 2. He replied, “Two what?” “Two bottles,” she said. “What’s in the bottles?” “Porter.” “Four.”
But recognizing what's being done to him rarely goes beyond knowing what they’re up to and giving them less than what they want from him. Part of this is his cynicism about what Ireland has become—the Dead Republic, as it were; at best a compromise, at worst an outright betrayal of the revolution he helped start but was prevented from finishing. Part of it is Henry’s doubt that he was ever a revolutionary at all—rather, simply a spat-on, shat-on hailstorm of rage from the slums of Dublin.
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