Linked tales of rural living weave a complicated tapestry of touching stories.
(This review was originally published at The Nervous Breakdown.)
Small town living is always the same, whether it's in Arkansas, Idaho, or Missouri. Built on the backs of linked story collections like Winesboro, Ohio by Sherwood Anderson and Knockemstiff by Donald Ray Pollock, Volt (Graywolf Press) by Alan Heathcock follows the lives of a handful of lost souls, tragedy washing over them like a great flood, people with names like Winslow, and Jorgen, and Vernon. In the fictional town of Krafton, we see what people do when living out in the woods, close to nature. When there's nothing to do, they make their own fun, picking fights over nothing, running through cornfields, tipping over cows. In a small town, everybody knows everybody, and gets in their business, sometimes to help, and sometimes to enable their own survival.
Throughout Volt we witness loss and gain, tragedy and survival, families united and divided. It is a gut wrenching collection, but it speaks the truth, calling to your attention the rich details of the landscape around us-every gnarled knob, desolate hill and crippled creek.
One of the things that Heathcock does well in this collection is set the stage. You get a strong sense of what it is like to live in Krafton, to struggle there, to survive. In a town like this, you wander the woods. If you don't have a car, you walk across dirt roads, dogs barking, leaping at chain link fences, tied to a post in the ground. Ramshackle huts flank you on either side, held up by grime and sheer will. From "Lazarus":
"The streets were plowed and salted, filthy banks of snow climbing the poles of lit signs before strips of bright shops. The high walls of the city airport stretched for blocks, a plane lifting off, its lights fading as it passed into the clouds. A day-glo truck pulled beside Vernon, its music thumping. Stoplight after stoplight, so many cars. A line of cars smoked in a chicken restaurant's drive-through. In what looked like an old department store, a church lay between an insurance agency and a florist."
There is a sense of history in a small town, and a sense of place. Also from "Lazarus":
"The roads were slick and the one-hour drive from the city took two. At the Krafton exit, daylight flashed off the corrugated walls of the old McCallister mill. Vernon surveyed the sparkling land, playing in his mind the knobs beyond the mill, naming who lived on what road, knowing them by their fields, by their barns and kitchens and drawing rooms, knowing kids from parents, aunts from cousins, naming them each by their pains and praises."
It can be a comforting presence, this familiarity around you. Or it can be suffocating. You can settle in and stay close to family and friends, or you can run like hell. Most don't get out, unsure of what awaits them in the nearest big city, unable to picture themselves in any other setting, no matter how hard they may want to flee, or how desperate things have gotten. What would they do, who would they turn to? It's the devil you know, versus the devil you don't. And oftentimes, you can deal with the devil you know.
(For the rest of this review please go to The Nervous Breakdown.)
Was this review helpful? Yes NoThank you for your feedback.
Report this reviewThank you, this review has been flagged.