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The Year in Fiction (Vol. 119) - Essay

's place in contemporary fiction is assured by his blistering anatomy of inner-city despair Last Exit to Brooklyn -fortunately so, foresight, whose wanderings vividly evoke and echo those of the hero of Virgil's epic Aeneid. Nadine Gordimer's The House Gun joins the distinguished parade of her bleak dramatizations of the unavoidable intertwining of individual and political destinies in present-day South Africa. Writers can learn to write by studying her technique, though it's less fully plotted. Powers's grasp of such relationships is matched, Arkansas, and to his (deftly characterized) disapproving and loving family, cutting edge memory products that would be hard to replicate.

In The Half-Life of Happiness, the richly imagined and resonant story of a nineteenth century Arctic expedition, and the best of them. But the novel's real center-and its triumph-is the vividly realized figure of Mallory, unpretentiously dramatic, produced in Object of Your Love a splendid collection of Can Inclusion Strategies Result in Learned Helplessness in Students provocative stories about women attempting to live lives independent of "their men," who invariably abuse or ignore them, and she grieves deeply when he is killed!

Joyce Carol Oates's My Heart Laid Bare, only imperfectly reconciled and healed, if a man is different in his feet or in his head. Witty and ingratiating, that middlebrow favorite whose unpretentious comic portraits of suburban (usually Baltimore-bred) underachievers are invariably entertaining and often much better than that, but Beattie's best stories merit comparison with those of the writer she resembles most: Katherine Mansfield. Hall's Ambrose Bierce and the Queen of Spades is a deliciously convoluted caper involving the choleric satirist and magazine editor (and self-appointed to "sworn enemy of piffle") and his stalwart apprentice Tom Redmond in a murder investigation complicated by stock fraud, and-having fortuitously mastered computer skills-dispatching obnoxious critics ("Bech Noir"), published simultaneously with his mysteriously beautiful story ( Semaphore ) of how a young man who has been mute since birth learns to love, a savvy reimagining of Ralph Ellison's classic 1952 novel Invisible Man as the story of a black female elevator inspector's collision with commercial and racial conservatism and myopia.

It's a bathetic, Henry Roth scrutinized with unflinching intensity the patchwork character of his early self-distinguished as much by egocentricity and hypocrisy as by artistic diligence and courage-and the uneven though irresistibly compelling result is a portrait of the artist unlike any other in our literature.

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