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Loot and Other Stories, by Nadine Gordimer
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With her characteristic brilliance, Nobel Prize winner Nadine Gordimer follows the inner lives of characters confronted by unforeseen circumstances. An earthquake offers tragedy and opportunity in the title story, exposing both an ocean bed strewn with treasure and the avarice of the town?s survivors. ?Mission Statement? is the story of a bureaucrat?s idealism, the ghosts of colonial history, and a love affair with a government minister that ends astoundingly. And in ?Karma,? Gordimer?s inventiveness knows no bounds: in five returns to earthly life, a disembodied narrator, taking on different ages and genders, testifies to unfinished business and questions the nature of existence. Revelatory and powerful, these are stories that challenge our deepest convictions even as they dazzle us with their artful lyricism.
- Sales Rank: #2338667 in Books
- Brand: Gordimer, Nadine
- Published on: 2004-08-31
- Released on: 2004-08-31
- Original language: English
- Number of items: 1
- Dimensions: 7.75" h x .49" w x 5.06" l, .39 pounds
- Binding: Paperback
- 256 pages
From Publishers Weekly
As was the case with many South African writers, Gordimer's fiction benefited, ironically enough, from the stark moral contrasts created by apartheid. The nine stories in this collection show Gordimer trying to gain a fictional perspective on the new era, and there are some missteps among them as she employs heavy-handed symbolism and less-than-revelatory social observations ("They had met at a party, the customary first stage in the white middle-class ritual of mating choices"). The title story describes an earthquake that "tipped a continental shelf" and drew back the ocean over a vast expanse, so that the detritus of the past, littered over the ocean floor, has been revealed. In response, people rush down into the former ocean bed and try to pry up treasure, unaware that the ocean, in a great wave, is coming back. In another allegorical story, "Look-Alikes," homeless, unemployed laborers invade a college campus, staking out a campsite in the sports fields, and are joined, sneakily at first, then openly, by the college's sympathetic faculty. "Karma" is a series of emblematic sketches set in various periods between WWII and the present day, which include the stories of Norma, an antiapartheid activist who got caught in a corruption scandal, and Denise, a white baby adopted by a black family in apartheid days, absurdly forbidden by law from marrying her white lover. These vividly imagined characters are among the best in the book, but the story is burdened with an awkward reincarnation conceit that is meant to hold the disparate episodes together. Overall, the stories feel tentative, as though they were straight out of Gordimer's sketch book, and needed a layer of finish.
Copyright 2003 Reed Business Information, Inc.
From Booklist
Since Gordimer won the Nobel Prize for Literature in 1991, her great novels, such as The House Gun (1998) and The Pickup (2001), have continued to open up the contemporary scene--in her native South Africa and elsewhere--with passionate insight and astonishing storytelling. But many of the short stories in this collection, her first in 12 years, are more situations than fully developed fiction. "Generation Gap" is a hilarious scenario of middle-aged kids in a flap when their elderly father leaves their mother for a young woman. In "Diamond Mine," a teen has her first sexual experience with a soldier in the backseat of the car while her parents in front drone on about the scenery. The longest story, "Mission Statement," about a dedicated woman sent to Africa by an international aid agency, is worth the book, both a brilliant lampoon of the bureaucratic empowerment babble ("projects of policy, infrastructure, communications, trade, treaties . . .") and a haunting drama of modern lovers who can't get free of a past "where violence lies shallowly buried." That's what Gordimer always does best: the sense of history in the bedroom now. Hazel Rochman
Copyright © American Library Association. All rights reserved
Review
GordimerÆs meticulous charting of human weakness and self-deception is as exact as ever... Deeply exhilarating.(The Boston Globe)
Gordimer is brilliant... Her stories are achingly beautiful. (Pittsburgh Post- Gazette)
A remarkable collection. (Richmond Times-Dispatch)
Most helpful customer reviews
0 of 0 people found the following review helpful.
Some of her writing is too philosophical for my taste ...
By Suzanne Oberlin
Some of her writing is too philosophical for my taste..the meaning gets lost in her head! Gordimer did have extreme talent in constructing a setting and tension.
2 of 2 people found the following review helpful.
In a class by herself
By Hugh R. Winig
Gordimer's use of language is beyond what the ordinary story teller employs. Her words are nuanced, metaphorical, and indirect in ways that let you mentally fill in the gaps and is very satisfying to one as the reader. I don't know of anyone who writes quite like her. Her stories are not plot driven and seem to evoke something profound about the characters' humanity that is difficult to describe. There are ordinary situations in some of her stories that are so vividly expressed, that they never leave your mind. Her writing is in a class of its own.
0 of 0 people found the following review helpful.
Unfinished business
By Friederike Knabe
An air of the surreal weaves through some of the stories in this intriguing collection of short fiction. As an astute and engaged observer of social realities at home and globally, South African Nadine Gordimer brilliantly captures ordinary people's lives as they attempt to make sense of it, more or less successfully. And then, there is usually an unexpected twist towards the end of each story - some giving a future perspective in a different voice, inviting the reader to ponder varied possibilities.
Nadine Gordimer, multiple award winner, including of the Nobel Prize in 1991, is well known and admired for her short fiction. Here, she brings together a novella, a number of portraits of normal people with very brief fragments or musings based around a specific news event, such as a tsunami in the title story, "Loot". "The Generation Gap" is a light hearted, ironic look at the squabbles of grown-up children about their widowed father who falls in love with a violinist of their own age. Something surreal happens with a group of professors in "Look Alike", another tongue in cheek story, yet with an allegoric message. The novella "The Mission Statement" is the most traditional of the stories in the collection. The central figure is a middle-aged English foreign aid worker experiencing her first African assignment. Her story is a surprising departure from the rest of the collection, both in tone and substance: very down to earth and, despite the intended surprise ending, completely realistic.
"Karma", the final segment is in itself a collection of vignettes, held together by a linking voice - that of a forever returning spirit-child. Anybody who has read the hauntingly beautiful The Famished Road by Booker Prize winner, Ben Okri, will remember the importance of the spirit-child in African cultures. Gordimer introduces such a spirit, develops it into one that is capable of memory and learning, who returns again and again, initially as an afterthought sprinkled into some of the short pieces. Yet in "Karma", it takes an important reflective role, linking the individual vignettes together. She expands the concept of "karma", building around it some of the most evocative pieces in the whole collection: love, race, relationships, society's explicit or implicit restrictions. As the title suggests, Hindu beliefs are also reflected upon by the returning spirit. The question remains at the end whether the need to return to the world to overcome the faults or weaknesses of the previous life does not in itself lead to "an unfinished business".
Gordimer's language is spare and efficient, her people descriptions vivid and precise. The detached tone and approach she demonstrates to her subjects does, however, not deny them emotional depth. Oblique references to brutality and conflict during the Apartheid period in South Africa are interwoven with the lives of her characters, in some cases contrasted with the post-Apartheid potential for a new beginning or ending. Nevertheless the stories reach beyond their locale in addressing common human aspirations and preoccupations. All of them leave room for the reader to ponder and expand on ideas and questions raised. [Friederike Knabe]
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