This lovely, lilting book...dramatizes love’s cross-purposes with panache.” — Publishers Weekly (starred review)
“The stories are clever, unsettling, confusing, and often brilliantly moving.” — Library Journal
“Brilliantly kooky and off-kilter.” — Cleveland Plain Dealer
“[Handler] oozes wit and he’s an astute social observer. The book’s offbeat sweetness charms.” — Charlotte Observer
“Daniel Handler [is] something like an American Nabokov.” — Dave Eggers
Daniel Handler [is] something like an American Nabokov.
Brilliantly kooky and off-kilter.
[Handler] oozes wit and he’s an astute social observer. The book’s offbeat sweetness charms.
[Handler] oozes wit and he’s an astute social observer. The book’s offbeat sweetness charms.
The qualities that draw millions to Lemony Snicket-absurdity, wicked humor, a love of wordplay-get adulterated in this elegant exploration of love. Handler brings linguistic pyrotechnics to a set of encounters: gay, straight, platonic and all degrees of dysfunctional. Amid the deadpan ("Character description: Appropriately tall. Could dress better.") and the exhausting ("Love was in the air, so both of us walked through love on our way to the corner.") are moments of blithe poignancy: quoth a lone golfer, "Love is this sudden crash in your path, quick and to the point, and nearly always it leaves someone slain on the green." In "Obviously," a teenage boy pines for his co-worker at the multiplex while they both tear tickets for Kickass: The Movie. In "Briefly," the narrator, now married, recounts being 14 and infatuated with his big sister's boyfriend, Keith. "Truly" begins "This part's true," and features a character named Daniel Handler, who has an exchange about miracles with a novelist named Paula Sharp. Handler began his career with the coming-of-age novel The Basic Eight; this lovely, lilting book is a kind of After School Special for adults that dramatizes love's cross-purposes with panache: "Surely somebody will arrive, in a taxi perhaps, attractively, artfully, aggressively, or any other way it is done." (May) Copyright 2006 Reed Business Information.
Handler, who as Lemony Snickett writes the "Series of Unfortunate Events" novels for children, returns to adult fiction with this collection of intertwining vignettes about love in all of its adverbial misery. Each piece, with an adverb for a title, focuses on young men and women negotiating the minefields of intimate relationships. People disappear, only to reappear in later stories skewering assumptions that were first developed in the earlier tales. In "Obviously," a young usher has a crush on Lila, whose boyfriend is cheating on her. In "Soundly," Lila appears in a bar, suffering from terminal cancer, having a last good time with her best friend, Allison. In "Wrongly," Allison is driving Lila's car to graduate school when she becomes involved with an unsuitable young man. The stories feature two recurring images: that of the magpie picking up glittering pieces of material and depositing them in other stories, reflecting reality at different angles, and that of a catastrophic explosion-possibly natural, possibly human-made-that destroys everything and everyone in its wake. The stories are clever, unsettling, confusing, and often brilliantly moving. The author's reputation will create public library demand. [See Prepub Alert, LJ 1/06.]-Andrea Kempf, Johnson Cty. Community Coll. Lib., Overland Park, KS Copyright 2006 Reed Business Information.
The author of the popular Lemony Snicket series of children's books puts a playful spin on adult themes of love and lust, showing a narrative ingenuity that should delight readers interested in exploring the possibilities of fiction. The third non-Lemony book from Handler (after Watch Your Mouth, 2000) finds him challenging conventional categories. This initially appears to be a selection of short stories, even parables, with each of the 16 taking a different adverb as its title ("Immediately," "Arguably," "Symbolically" and, as a change of pace, "Often"). Teachers generally instruct fledgling writers to eliminate adverbs whenever possible (only passive verbs suffer from greater linguistic disrepute), yet Handler makes his strategy succeed, frequently putting the titular adverb at the service of a broader theme. In "Obviously," he examines the essence of "kissassedness." "Briefly" is the briefest piece here, and includes the pivotal appearance of a boy's briefs. "Soundly" culminates in a boat ferrying across a sound. And so on. Yet in almost subliminal fashion, the author encourages the reader to make connections between the stories, with the repetition of recurring motifs involving magpies and money, plot lines that seem to leapfrog from pieces at the beginning to ones toward the end and the reappearance of characters (who may actually be different characters with the same name). Even the narrative "I" is suspect-sometimes a man, sometimes a woman. Some might find the key to the narrative strategy in "Truly," which the author characterizes as an "essay" and in which he purports to drop the fictional pretense in favor of straightforward autobiography and explanation of authorial intent.Or is this just another twist of the metafictional maze? Whether one approaches this as a novel (in the loosest sense) or a series of somehow connected stories, Handler's prose is warm, funny, smart and addictively readable. It might even send some adult readers to Lemony Snicket to see what they've been missing. Experimental fiction is rarely this emotionally engaging.