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    Available in PDF - DJVU Format | Fatality.pdf | Language: ENGLISH
    Larry Kearney(Author)

    Book details

A novel. Edward Hogg, a thirteen year old boy in 1950 Brooklyn, discovers that he's being accessed by the shifting, malicious, imbecilic world of the unsuccessfully dead. He has a crazed enemy in the fifteen year old son of Annabella Parenti, the corrupt local holder-of-seances, and when he agrees to work for Annabella, hoping to contact his recently dead mother, hell breaks loose. Fast, elegiac, brutal and haunted.

Larry Kearney was born in Brooklyn, New York, and moved to San Francisco in 1964 where he became part of the group of poets centered in North Beach and loosely described as the San Francisco Renaissance. He has published fifteen books of poetry, three works of non-fiction, and a children’s book. Four noir novels have yet to circulate among publishers. Critical Responses, Prose: Whiskey's Children (Kensington): So beautifully written it will leave you shaking with wonder — Anne Lamott; Addictive — a page turner — St. Louis Post-Dispatch; Redemptive and gripping — Patricia Holt, San Francisco Chronicle A Bar on Every Corner (Hazelden): The sequel to Whiskey’s Children won the Independent Publisher’s Award (IPPY) for best memoir of 2002. Periodicals: Zyzzyva, Counterpunch, Sierra Club Bulletin, Shuffleboil, Vanitas, Enough, Queen of Heaven, Beat, Mad Love. Critical Responses, Poetry: This is a primal geography wherein all the terms of the so-called world gain articulation and a place. And his propositions will haunt you, or bless you, forever. Voila — Robert Creeley; Larry Kearney’s lyrical, probing voice has been an essential for the last 40 years — Joanne Kyger; Kearney is one of those unsung cats who has been producing intelligent thoughtful snarly deeply musical poetry, deeply felt wryly wrought astute poetry of the first rank for decades for a select few—you're in for a rare treat — David Meltzer; Larry Kearney's poems say there's nothing that can't come in here if it's required. Then the wind and a ball and the sound of a light moving through the room — Stephanie Young Periodicals and anthologies: Bay Area Poetics, O Anthology, Zyzzyva, Open Space, Foot, Temblor, Buffalo Stamps, Yanagi, The Ear, Vanitas, New American Writing, Pacific Plate, Noi, Sal Mimeo, Cypress, Small Town, Commonweal, Parthenon West, Golden Handcuffs.

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Book details

  • PDF | 198 pages
  • Larry Kearney(Author)
  • CreateSpace Independent Publishing Platform (August 2, 2012)
  • English
  • 7
  • Literature & Fiction

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Review Text

  • By Shuffle Boil on August 22, 2012

    Yes, I do remember a previous occasion when I got inside a novel that kept me up reading it nearly all night, and I won't say what that book was. It doesn't quite make sense to do that, because the present book really isn't "like" anything else, and pressing other "comparable" works into service isn't very helpful."I don't know how he does it" really does sound like a bad cliché, even when it's true. Somehow, in this case (and yes, it's "a case" in the Conan-Doyle sense, that a solution incrementally presents itself, unwinds, in full view) the author manages to co-inhabit the space this story opens up, via imagination trained on its materials (life, home, childhood and whatever thresholds "out" it proposes), so intimately that there really is only one way "to do it"--hang on as best as you can, try and keep faithful to what's happening, and watch closely as the proceedings unveil themselves.Imagination... is funny, it can make a cloudy day sunny... It can torque sunny days into haunted ash figurines of days, too. So we are told."Brooklyn gothic"--if it isn't a sub-genre already, then Larry Kearney had to invent it in one swift, Godly and ungodly stroke with this little "chef d'oeuvre inconnu."The set is 1950-51, post-World War II Brooklyn, a kind of "village life," close to the movies and radio, close to home. If the world is larger than what our narrator's brain can encompass, who needs to know it? Maybe we do, and that's "the point"?The set-up is straightforward, "simple" even: enter Edward, bright protagonist kid, who is twelve; his brother four years older than him; a mom, a dad, and mom's sister Monica; Rosalind, some few years older as well than Edward who is stricken and completely charmed by her being who she is; the mean kid Arthur, Edward's tormentor-rival, and the mean kid's dark sophisticated woman of a mother.A few things happen, big eventful ordinary things, and hell follows suit and rips loose, irrupts into our world in ways I've never seen depicted this acutely, so close to what someone can hold in their hand. How fear and hilarity can ride side by side.At first take, "Fatality" feels, at its edges, to be maybe a bit of a misnomer of a title, although it's a fact that our story is soaked through by this shared, human-all-too-human condition without the word being uttered once by its characters. They're too involved in their lives to need to do something like that.Truth be told, I read this short novel in one and a half fell swoops. It was daylight already, I had to sleep, and pick it up again when I woke up hours later the same day. That world, that's half dream-work, half forgetting and remembering, fed by memory and imaginings, adrift, is close to the world of this book.One of the nicest short novels I have read, is how I put it, to a friend. A magic novel.21AUG12

  • By J. D. Langdon on February 13, 2013

    Kearney uses his subtly masterful prose to weave a powerful story about the kind of things that haunt us all. An amazing work, carefully crafted and brilliantly executed, Fatality will haunt its readers as well.

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