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Rick
Moody is best known in the popular mind as the author of THE ICE
STORM, which was made into a somewhat flawed, occasionally brilliant
film a year or few ago. Moody, however, is more renowned in some
circles for his short stories. He is somewhat difficult to get a
stylistic handle on, and while this can be occasionally maddening,
it is also quite interesting. One never knows what to expect from
Moody; he can be outrageous, funny, sorrowful, depressed, or...moody.
DEMONOLOGY
is a collection of 13 of Moody's short stories (although "The Carnival
Tradition" is more accurately classified as a novella) that run
the gamut of styles, topics, and quality. Take "The Double Zero,"
the story of a man's mental and vocational breakdown in Bidwell,
Ohio. The story is told through the eyes of the son of a man who,
after losing a decent factory job and embarking on a series of failed
financial ventures, opens a diner near a railroad station. There
are no big surprises here; you know that the guy is gonna get squashed
like a bug. The suspense is in how it happens. What is also interesting
here, as a parenthetical, is that not only does Bidwell, Ohio exist,
but also that Moody nails the town (described by its own residents
as a whistle stop) perfectly. And that talent extends to Moody's
descriptions of different individuals as types. Whether he is writing
about a wedding planning service ("Mansion on the Hill") or an almost-successful
actress on the downside of a nonexistent career ("Carousel") or
a couple whose relationship flounders on the shores of sexual politics
("Ineluctable Modality of the Vaginal"), Moody nails his protagonists
dead-on.
Moody
also is not afraid to experiment with the structure of the short
story. "Surplus Value Books: Catalogue Number 13" is...well, basically,
it is a collection of descriptions and prices of various books (almost
all are almost fictitious) that ultimately say more about the collector
than they do about the books. There is also the absolutely brilliant
"Wilkie Ridgeway Fahnstock, The Boxed Set." The story is a set of
liner notes for a cassette collection, commercially produced and
offered for sale, of a schlemiel who has reached penultimate failure
in early adulthood and has nowhere to go. The selections offered
on the cassettes are real songs, and taken together are the perfect
hipper-than-you'll-ever-be overview of the revealed and hidden history
of rock music from the '60s to the '90s. Impressive. "Boys," meanwhile,
follows the lives of twin brothers as they achieve and experience
the milestones of life over the course of sentences, paragraphs,
a few pages. Moody, however, occasionally needs to rein in his tendency
to be cute; "Pan's Fair Thong" is ultimately little more than an
elegant time-waster, while "Ineluctable Modality of the Vaginal"
is narrated as a single, 16-page sentence, which is ultimately a
stylistic distraction from an interesting story.
If
there is one unifying theme to the stories in DEMONOLOGY it is the
loss of family members. The impetus behind the actions of the protagonist
in "Mansion on the Hill" is his deceased sister; the presence of
a deceased wife and mother hangs over a neighborhood party during
"Hawaiian Night;" a dying boy is the cornerstone of the uneasy reunion
between two estranged brothers in "The Double Zero." Though humor
is interlaced throughout Moody's narrative, one is almost afraid
to laugh, or even chuckle; the humor is liable to die in the next
sentence. His work is certainly representative of life, if one regards
life as a series of small victories brought low, suddenly and irrevocably,
by tragedy.
It
will be interesting to see where Moody's work takes him in the future.
His world view is somewhat reminiscent of Leonard Cohen's prose
work (though Cohen's humor, particularly in BEAUTIFUL LOSERS, is
much sharper). Whether Moody will continue to push the narrative
form constrictions of the short story or will present his well-honed
observations in a more traditional fashion remains to be seen.
---
Reviewed by Joe Hartlaub
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