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Haywire
by Thaddeus Rutkowski
Starcherone Books
2010
Third Collection/Novel-in-
Stories
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"
After
a time, we came to understand our parents in a different way. We no
longer thought they were crazy.
We
were not immune to depression.
We
agreed that guilt was not necessary."
Reviewed by Michelle Tandoc-Pichereau
Haywire
seduced me with what’s written on its cover: "Darkly funny"…
a novel "composed of 49 flash stories"…"surrealistic, giddy
page-turner"…by "one of the most original writers in America
today"…and so on. It promised everything I was looking for in a
book—at least, at the moment—and I was eager to give it a read.
The
third novel-in-stories from author Thaddeus Rutkowski, Haywire
explores the same theme and characters as Rutkowski’s previous
work, Tetched
and Roughhouse.
Basically, the biracial narrator—whose background and experiences
reportedly resemble that of the author’s—shares vignettes from
his childhood in rural America, his time in college and graduate
school, and finally, his years as an "adult" trying to make it in
the big city. In each, he is often out-of-place, yet rarely
judgmental. In each, he appears nonchalant and deadpan, yet one could
easily see the hurt, turmoil and consequential self-loathing brewing
underneath. And while Rutkowski’s prose is sparse and largely
understated, he manages to cover plenty of ground—poverty, racial
and cultural prejudice, child abuse, substance abuse, sexual
addiction, bisexuality, the "artistic impulse," and the ongoing
attempt to "do well," to not fuck up, to be a good
person/partner/parent, and to forgive. As Rutkowski writes in What
We Had in Common:
After
a time, we came to understand our parents in a different way. We no
longer thought they were crazy.
We
were not immune to depression.
We
agreed that guilt was not necessary.
To
me, Haywire’s
best moments are in Part 1, when the narrator, then a kid, talks
about his father—an alcoholic and narcissistic Polish-American "artist" who, for all his obvious smarts, is slow to see his
failures and shortcomings, and quick to impose his will and to
criticize what’s around him. For instance, in the opening story In
Cars,
the narrator recalls the following scene:
At
home, I went into my bedroom. I shut the door, but I could hear my
mother’s and father’s voices.
"I
need cash," my father said. "When I go out, I’m not flush. I
don’t want people to say to me, `If you’re so smart, why ain’t
you rich?’"
"Maybe
you should get a job," my mother said.
"I
can’t join the rat race," he said. "That’s a waste of life."
"You
could borrow money from your parents."
"I
could ask, but they’ll tell me to get a job. That’s what they’ve
been saying for years. By they’ve also been saying, `You’re not
qualified to do anything.’ Actually, I’m overqualified to do most
things."
"Maybe
we don’t need money," my mother said.
My
father’s voice became louder. "How can I find work if I’m
underqualified for everything and overqualified for anything?"
"I
can’t answer that," my mother said.
I
heard a door hit its molding as my father left the house. I looked
out a window and saw his car approach the one intersection in town.
His turn signal indicated he was heading for the hotel bar. I didn’t
know why he couldn’t just walk there. The bar was about a hundred
yards away.
Part
2—wherein the narrator gets his "escape" by going away to
college and then to graduate school—is the shortest, and to me, the
weakest section of all three. There’s less tension, the characters
seem glazed over and inconsequential, and there are fewer
psychological insights.
Thankfully,
the last part—which depicts the narrator’s attempts to recover
from his pot and sexual addiction; to become a responsible "adult";
and to succeed in finding a job, a romantic partner and some sort of
peace and normality—picks the pace back up, although it doesn’t
reach the same intensity and impact as in Part 1. It does, however,
have its funny and even "racy" moments. Clearly, Rutkowski has a
knack for writing tongue-in-cheek. But he can also be poignant,
without being too sentimental. Take, for example, the following
excerpt from Dog
Days,
wherein the narrator talks about his brother, who moves back to their
widowed mother’s house after his divorce:
When
a home health nurse came to check on our mother, he shut himself in
his room. He didn’t want the nurse to see him. He believed that if
she did, she would know he was a loser.
His
despair was so dark that our mother thought he might kill himself.
He
had threatened to end his life after his divorce. Back then, our
mother had said to him, "Please don’t kill yourself while you’re
so far away. I’ll have to buy a plane ticket to clean up the mess.
Why don’t you wait until you’re here before you do it? I’ll be
able to clean up more easily."
Did
I enjoy Haywire?
Yes.
Do I think it lived up to its promise and my prejudged expectations?
Perhaps I’ll need another shot at it before I can (if I could)
agree. I enjoyed the book, but contrary to what’s been claimed,
neither the individual flashes nor the novel as a whole really "pulled me along by the nose ring." I suspect, however, that
there’s more to uncover, and that Rutkowski’s writing is the kind
that, while it initially makes you chuckle and give a slight nod here
and there, could also make you do a double take if you spend just a
bit more time to dwell on it. I’m looking forward to giving it
another read.
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