THE LAUGHING SUN:

I know I just got finished explaining that biology is destiny in the Palomar stories. But what struck me upon rereading the material collected in this volume, dominated by the titular story of a serial killer’s stay in the town, is the power of ideas. Not emotional or sexual drives, even, like the web of lust and unrequited love surround Luba’s mother Maria in the suite of stories that forms the second half of the collection, but actual honest-to-god ideas. Tonantzin is literally driven mad — broken — by the late Cold War political apocalypticism of her criminal boyfriend. (He himself is freed from nihilism’s grip by a jailbird religious conversion, for all the good it does anyone.) Humberto is thrown so far off-kilter by his discovery of the avant-garde artistic tradition from the Impressionists onward that the impact, combined with his fear of the killer, drives him to abandon notions of right and wrong entirely in favor of the truth art can express. In both cases, this ends in disaster.

But there’s a counterpoint to the damage these ideas do.

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