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Book reviews for "Gaitskill,_Mary" sorted by average review score:
Open City Number Five : Change or Die
Published in Paperback by Open City Books (01 May, 1997)
Authors: David Foster Wallace, Mary Gaitkill, Delmore Schwartz, David Berman, Mary Gaitskill, Jerome Badanes, Helen Thorpe, and Irvine Welsh
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These tiny exceptions
How is it that the Final Opus of Leon Solomon is out of print in both hardcover and paperback?

The book's author, Jerome Badanes, died halfway through the sequel to The Final Opus of Leon Solomon. What he had written, and revised himself, was a pretty amazing 100 page novella called Change or Die which appears in Issue number #5 of Open City in its entirety.

It is always a peculiar thing when you take a piece of writing that has so much peculiar character and substance, and lump it in with all the other stuff that happens to comprise that issue of the magazine.

This issue has some absurd wild cards - when seen in the light of its central feature, "Change or Die," - such as an Irvine Welsh story he wrote shortly after completely Trainspotting, and this wonderful piece of non-sense that Delmore Schwartz wrote about T.S. Eliot's anti-Semitism. That is the one interesting thematic thread in this issue--Both Shwartz and the academic protagonist of Change or Die (a man trying to recover from Shakespeare,) have a certain lovely fatedness about them.

And Change or Die has one of my favorite short lead sentences:

"The Blik family was a dream and an education."

What a great beginning to such a great story!

(And what a concise and honest use of the short sentence, which has been bastardized and beaten up on any number of fronts, from Hemingway imitators to the cold pragmatism of news providers).

If this whole computer as a means to shop for books is to have any good side, then it is that finding a book like, "The Final Opus of Leon Solomon," or getting your hands on the novella "Change of Die" is something you MUST GET! If only to make use of the fact that you are sitting in front of a computer and perusing.

Jerome Badanes. He is coming back in the only way he can.

Bad Behavior
Published in Paperback by (1998)
Author: Mary Gaitskill
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All in all, a great collection
While all writing is, in a sense, saturated with the person who wrote it, Mary Gaitskill is one writer who seems to wear her deepest preoccupations (and neuroses) very close to the surface of her fiction. After reading her two collections of short stories and her novel, a particular troubled young woman emerges as the reccuring, almost obsessive, motif of her writing - brown-haired, slim, dreamy, bookish, perceptive, and isolated, with inclinations toward S&M and bisexuality, a history of terrible relationships, stripping and/or prostitution, and a desire to become a writer. This character often drifts on the edges of a hip New York underground, yet feels marginalized. She appears, in various permutations, across most of these 11 stories.
I've been a little reductive here, I suppose, and I should probably say that none of this is anywhere near as pretentious, seamy or self-indulgent as it sounds. Gaitskill is occasionally indicted for being just another trendy "people who wear black" writer, plumbing the psyches of the tragically hip as though it's some essential window into the human soul. She is definitely guilty of this, but she also redeems herself, mainly because she writes so well. Some of the stories here are a little bit embryonic for me, and seem a bit like a half-finished draft submitted to a writing class - e.g. "An Affair, Edited." Still, even in these weaker stories, Gaitskill will supply some acutely observed little image, or quick line that chisels right into human psychology, and it's enough to take your breath away. She's often been praised for her razor-sharp vision, and I think it's her best attribute. My favourite stories here are "A Romantic Weekend", a painfully bleak comedy involving a young woman who's been seduced by cultural fantasies of the masochistic female but discovers she doesn't really like the reality after all, especially when it's divorced from romance completely, and is purely an act of sad degredation at the hands of a creep; and the melancholy pastoral, "Heaven", a series of beautifully observed vignettes revolving around the upheavals of a suburban family. Another notable is "Connection", which explores the strangely desperate, monkey-grip friendship of two college girls who drift apart, exposing with a kind of sadistic clarity the mix of self-obsession and insecurity that propelled the relationship in the first place. I also found the story "Something Nice" compelling, telling the tale of a young prostitute and an older man who becomes infatuated with her.
There's voyeuristic pleasure in all this, and sometimes I wish Gaitskill would turn her sharp eye to something a little less Calvin Klein ad. She can do this, and does it well later in her career. Still, there's plenty to admire and enjoy in these stories, all of which possess a strange pathos. In spite of the pseudo-glamour that's always tarnished Gaitskill, she has a remarkable understanding of people, and a genuine sense of what it means to be dislocated and alone.

Serious Writing--Not Erotica
Mary Gaitskill understands compulsion well. She takes you along the fringe and down the dark alleys of sexual urgency without pandering or exploiting. These stories are not designed to titillate, although some of them may. There is nothing mechanical, cliched, or pornographic about them. They are stories about the desire for intimacy--or at least some sense of contact--and the difficulty of achieving it. Stories of passion mixed with cold calculation. Is this the "other"? Or is this you and me? The harsh light of "perverseness" throws these issues into even sharper relief. A particulary fine example of this is the ironically titled story, "A Romantic Weekend," which manages to be both sad and comical. Gaitskill takes a detached view of her characters, but is not pitiless. Her ability to sketch them so precisely presupposes a degree of affection, or acceptance.

Compelling -- and True
I read BAD BEHAVIOR after seeing Gaitskill's blurb on the cover of another Amazon.com purchase, THE LOSERS' CLUB by Richard Perez. Like that novel, BAD BEHAVIOR is about the misfits (artists, wannabe-writers) of New York City's East Village. Also more of a high-minded literary work and a little less "youthful" than THE LOSERS' CLUB, BAD BEHAVIOR cuts to bone in its portrayal of damaged, neurotic young (mostly creative) people trying to find a place in the claustrophobic and dark recesses of the big city and their incapacity to connect with each other.

I found this collection of interwoven stories oddly compelling and, sadly, all too true to life. Many of the stories' relationships have an S/M theme, which in some cases implies a certain damage of the main characters, a certain comfort to be found in pain. The S/M quality of the stories is not portrayed in a titillating way as it might show up in a bit of erotica, but almost as a symptom of the characters' sad inability to relate to each other in a quote-unquote normal way - and often the characters' sexual tendencies tend to frustrate and alienate them even more.

Frankly, I recognized myself in these stories -- and it made me realize that the thing standing between achieving my goals and my personal happiness -- my greatest enemy -- is myself.

I recommend BAD BEHAVIOR highly. You don't have to be from New York City to relate to it -- I live in LA. But make sure you're in a safe place emotionally before you sit down to read it. Like all great art, it's disturbing and unforgettable -- full of truth -- and it can leave you feeling more than a little bit exposed.

TWO GIRLS FAT AND THIN
Published in Paperback by Scribner Paperback Fiction (1998)
Author: Mary Gaitskill
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TWO GIRLS, FAT AND THIN: a caricature of Rand's Objectivism
A reader may reasonably hope, in the opening chapter of TWO GIRLS, FAT AND THIN, that novelist Mary Gaitskill, with skillful writing talents, will develop her characters into something more than mere opposites drawn together by a fated interest in the controversial philosopher, Anna Granite. Realizing that Granite is the counterpart of the real-life Ayn Rand, one hopes that Rand's philosophy of Objectivism (or Granite's Definitism) will be the central point and that the 'fat' Dorothy will ultimately thrive as a model Objectivist (Definitist), while the 'thin' Justine will either fail as the antithesis or eventually capitulate in her philosophy and prosper as well. The means to this end could acceptably be serious or comically satirical. As it turns out, the novel is a caricature: an exaggerated portrait depicting some truths of Objectivism yet distorting others. In the end, distortion reigns.

Although Dorothy and Justine seem to be opposites, their differences are less serious than their similarities. We see, through alternating chapters, the backgrunds and stories of each girl unfold. Justine and Dorothy both suffer neuroses developed as an aftermath of childhood abuse, rape, and/or incest. They are socially maladjusted. Misfits. Their keening thoughts and relationships with men waver between hatred, love and fear.

Gaitskill's venture into the sordid details of rape, masochism, and malignant sex, might be enough to disgust and turn away the faint hearted. The story, by itself, seems nothing more than a vehicle to sell the lives of two sick girls. But, a reader familiar with Ayn Rand's novels and the philosophy of Objectivism, will find redemption in Gaitskill's observance of Rand's ideas and the cleverly drawn parallels between the fictional and the real.

Anna Granite - a rock solid name for the solid as a rock Ayn Rand. Granite's books THE BULWARK and THE GODS DISDAINED are Rand's FOUNTAINHEAD and ATLAS SHRUGGED. Objectivism becomes Definitism. Nathaniel Branden, with whom Rand had an extramarital affair, becomes Beau Bradley. Even Alan Greenspan, a one time follower of Rand, is depicted as financier Knight Ludlow. The characters' lives follow the pattern of their real life counterparts.

The reader's hopes of a Rand-like character, evolving in the story, are buoyed by the exhortations of a Definitist named Bernard: "I am taking as my model Jesus Delorean Dilorenzo Michaelangelo in THE GODS DISDAINED. Maximum achievement, the highest you are capable of. None of this 'well, maybe I can't.'" But, hopes are dashed. Bernard disappears into the story. And none of the other characters become super heroes or super achievers. Perhaps that is the nature of a caricature - distortion of the truth. Dorothy and Justine are victims of their past and of society. They are misfits made for each other. Was the discovery of their true selves "the highest they were capable of"?

Like Mary G.'s short stories, you'll like her first novel
I must admit that I have been waiting to read this book for some time now, as I have read Mary. G.'s two books of short stories and found them quite enjoyable -- and at times erotic -- so I was pleased that her only novel was finally reprinted. The novel is well written -- and follows familiar themes she has explored in her short stories. Is this book worth investing time with? If you enjoyed The Book of Ruth, or She's Come Undone, you'll enjoy this one too, as the themes are familiar (women who feel out of touch with society). You might also try Harrison's Thicker Than Water (not her latest work). Also note that Ayn Rand shows up in Two Girls..as a fictional character who plays a major role. Even the statue of Atlas with the world on his shoulders from the cover of Rand's novel Atlas Shrugged shows up in a n office here. Rand's philosophy (Objectivism) is also discussed at length in her, as well as thinly disguised books she wrote (We The Living, The Fountainhead and Atlas Shrugged). It's all very amusing, and if you were a fan of Rand you'll get the reference. If not it doesn't detract.

TWO GIRLS, FAT AND THIN: a caricature of Rand's Objectivism

A reader may reasonably hope, in the opening chapter of TWO GIRLS, FAT AND THIN, that novelist Mary Gaitskill, with skillful writing talents, will develop her characters into something more than mere opposites drawn together by a fated interest in the controversial philosopher, Anna Granite. Realizing that Granite is the counterpart of the real-life Ayn Rand, one hopes that Rand's philosophy of Objectivism (or Granite's Definitism) will be the central point and that the 'fat' Dorothy will ultimately thrive as a model Objectivist (Definitist), while the 'thin' Justine will either fail as the antithesis or eventually capitulate in her philosophy and prosper as well. The means to this end could acceptably be serious or comically satirical. As it turns out, the novel is a caricature: an exaggerated portrait depicting some truths of Objectivism yet distorting others. In the end, distortion reigns.

Although Dorothy and Justine seem to be opposites, their differences are less serious than their similarities. We see, through alternating chapters, the backgrunds and stories of each girl unfold. Justine and Dorothy both suffer neuroses developed as an aftermath of childhood abuse, rape, and/or incest. They are socially maladjusted. Misfits. Their keening thoughts and relationships with men waver between hatred, love and fear.

Drawing her emotions into a self hatred, Justine engages in a masochistic affair with Bryan who willingly obliges with her request to be whipped and scarred. Dorothy, on the other hand, lives in a vicarious sex world, wanting sex but afraid of it, afraid of men...that is, until a fellow Definitist and gentle friend, Knight Ludlow, relaxes her into submission. Ludlow is betrothed to another, but Dorothy believes (as does Granite/Rand) that an honest love justifies unfaithfulness.

Gaitskill's venture into the sordid details of rape, masochism, and malignant sex, might be enough to disgust and turn away the faint hearted. The story, by itself, seems nothing more than a vehicle to sell the lives of two sick girls. But, a reader familiar with Ayn Rand's novels and the philosophy of Objectivism, will find redemption in Gaitskill's observance of Rand's ideas and the cleverly drawn parallels between the fictional and the real.

Anna Granite - a rock solid name for the solid as a rock Ayn Rand. Granite's books THE BULWARK and THE GODS DISDAINED are Rand's FOUNTAINHEAD and ATLAS SHRUGGED. Objectivism becomes Definitism. Nathaniel Branden, with whom Rand had an extramarital affair, becomes Beau Bradley. Even Alan Greenspan, a one time follower of Rand, is depicted as financier Knight Ludlow. The characters' lives follow the pattern of their real life counterparts.

The reader's hopes of a Rand-like character, evolving in the story, are buoyed by the exhortations of a Definitist named Bernard: "I am taking as my model Jesus Delorean Dilorenzo Michaelangelo in THE GODS DISDAINED. Maximum achievement, the highest you are capable of. None of this 'well, maybe I can't.'" But, hopes are dashed. Bernard disappears into the story. And none of the other characters become super heroes or super achievers. Perhaps that is the nature of a caricature - distortion of the truth. Dorothy and Justine are victims of their past and of society. They are misfits made for each other. Was the discovery of their true selves "the highest they were capable of"?

Because They Wanted to: Stories
Published in Hardcover by Scribner (1997)
Author: Mary Gaitskill
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This is a GREAT book!
I have read all of Mary Gaitskill's books and loved every single one of them. She tells true stories -- the highest goal of literature, and perhaps the only one. This collection revealed a "maturity" in her writing -- just when you think she can't go deeper, she does; be more concise, she is. The title story in this collection made me shake to the core. Thank you, Mary Gaitskill, you've written a great book. I look forward to reading your next one.

Incredible collection, but not for everyone
I've been a short story fan since I was a teen, had a love-hate relationship with the New Yorker ever since. Too many short stories follow that formula--middle class protaganists, emphasis on interior life rather than plot, conflict deriving from relationships, with the epiphany arriving right on schedule in the last 2 pages. Updike and Munro do this really well. Even though Mary Gaitskill's collection follows some of these rules, I found it breathtakingly original and powerful. She pushes the interiority of her characters to an extreme, and I'd have to say the single trait of these stories I admire most is their ability to make you feel what her characters do. Forget plot, for the most part--the value here is in the subtle observations of love and sexuality. These stories have an edge unknown to your average buttoned-down New Yorker writer--only Thom Jones at his best can surpass her there. With Gaitskill, Jones and Junot Diaz, we're finally starting to get some short story writers who don't seem to have spent their lives hiding in the suburbs. Don't read this book in a hurry--savor it.

Because They Wanted To
Mary Gaitskill's Because They Wanted To is a short story collection I'd like to strongly recommend. Each of the 9 stories (the last being "The Wrong Thing", which is a sequence of four narratives) are at equal turns beautiful and harrowing--and very very human. Her characters, such as the young babysitter in the title story, are so real and recognizable that they often unnerve the reader with their frailities. This is writing that cuts deep, so deep in fact that it can't help but affect the reader in a personal way. As much as I was disturbed by the young woman's action at the conclusion of the title story (I won't give anything away here!), I also understood it--and that is the power of Ms. Gaitskill's writing. She's not spinning yarns about distant worlds, she's writing about us. Her characters are no more heroic or perfect than, let's say, our parents, or siblings, or friends. Who doesn't know the father and daughter in "Tiny, Smiling Daddy" or Margot and Patrick in "Orchid"? In Because They Wanted To, Mary Gaitskill has produced stories of breath-taking honest. I suppose it would be easy to focus on the things in the collection that seem unsettling, but to do so would be a real injustice to the other layers--the subtleties and details of the writing, the incredible empathy that Gaitskill has toward her characters. These qualities are best displayed in "Blanket" and "Comfort"; the latter being so finely rendered that it left its mark on this reader long after I'd finished the book. And while some of the characters seem despicable, they are no more despicable than you or I, and at times they resonate like old friends. If only we could be so well-written.

Bad Behaviour
Published in Paperback by Scepter Pubs ()
Author: Mary Gaitskill
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Bleak House (Modern Library Classics)
Published in Paperback by Modern Library (09 July, 2002)
Authors: Charles Dickens and Mary Gaitskill
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Open City
Published in Paperback by Open City Books (1992)
Authors: Mary Gaitskill, Jeff Koons, and Paco
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Open City 7: The Rubbed Away Girl
Published in Paperback by Open City Books (01 February, 1999)
Authors: Mary Gaitskill, Sam Lipsyte, Bliss Broyard, David Berman, Steve Malkmus, Will Oldham, Victor Pelevin, Hal Sirowitz, Elizabeth Macklin, and Jimmy Raskin
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