This collection was sent to me as a review copy.
E. Thomas Finan tends to look inward and does so in affecting ways. His protagonists have uneasy relationships with the world and, therefore, the stories are unsettling for everyone. He writes achingly realistic fiction that speaks eloquently through the clipped or choked dialogue of its suffering characters. Broken relationships feature prominently, but not exclusively. The broken relationships are often deep in the rearview, though closer to the heart than they initially appear.
Among the stories, there is one that appears almost like a writing exercise. Finan made the courageous (foolhardy?) choice to re-write Hemingway’s most famous short story and include it in this collection. Finan’s is titled: “Dunes Like White Elephants.”
Nearly as enigmatic as Hemingway’s, the story approaches its subject obliquely. As in its famous predecessor, the intersection of a pregnancy and a relationship create the understated, but intense, drama. Where Hemingway showed a man pushing a woman to abort her pregnancy, in Finan’s take, the man is pressing for marriage. I actually think Finan pulled this off without creating a disaster which, frankly, is what I expected despite the talent displayed in the earlier stories.Finan’s female lead is as reluctant as Hemingway’s and Finan’s potential father has the same binary view of the world as did his forebearer: the couple must either abort the pregnancy or marry and raise the child. The relationship in Finan’s work is a new one and, at least partly for that reason, the woman is very uncertain about turning this unplanned pregnancy into a shotgun wedding. The man believes the conclusion is foregone, despite his questioning tone. So many elements are mirrored, this was quite a risky story to publish.
I like what Finan has done to twist Hemingway’s stereotyped roles in interesting ways. He did not simply re-write the story into the modern age or reverse the poles. Rather, he bent and twisted the classic into something new and provacative. Finan certainly does not surpass Hemingway, but he gets points for shocking this reader into a closer analysis of the original. Kudos to Finan for his gutsy decisions.
My favorite story in the collection is “Motley Black.” The narrator, “Jay”, is taking a bus ride across country to escape the geography of his most recent relationship. A wiseass (“My friends call me Foley.”…..“So what should I call you?”) and introvert, Jay tries to avoid a seatmate only to end up with the talkative and otherwise annoying Foley at his side. While Foley snores, Jay broods:
One can always find the loneliness within life. It is always there. Conviviality, conversational relish, the glibness of society – all are signs of the struggle to ignore that loneliness, always lingering at your shoulder like an unwelcome stranger, one that we know too well. Perhaps, for many people, the only thing worse than a stranger is someone we know inside and out; despite all that knowledge, that patina of familiarity, there remains the hollow core of ignorance. What was a friend? Someone to unburden your heart to? Well, what would telling do? I did not need any more of projected narcissism, which constitutes the heart and soul of common friendship.
This dark moodiness is typical of the stories in the collection, though humor peeks* through in places. In “Motley Black”, for instance, Jay’s wit leavens things until the main action hits. The story bends towards absurdity, I thought it had snapped at one point, but finds its way to a satisfying conclusion. You can find an extended excerpt here.
Finan writes with impressive confidence (as his cribbing from a Hemingway story suggests he would). He usually delivers. Even if every story is not seasoned to my taste, Finan achieves what it is he sets out to do. Impressive.
[**Edited 11-4-2011: Not mountain “peaks”, of course.]