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THE BOOK OF DAYS
The Book of Days meanders somewhere between novel and short story
collection. It's not quite the central character's diary either,
although the entries are made on a daily basis. A diary or journal
connotes some personal recording of events, experiences, and
observation. The Book of Days does not consist of memorandums but of
fabrications composed from bits and pieces of reality, notable
anniversaries, memorable historical dates, and birthdays of the famous
or infamous.
Cal, the writer-protagonist, has left his wife and children because he
loves them too much. There are so many dangers in the world and he is
overwhelmed by the task of protecting them as he feels he should. Cal,
retreating from life and reality, returns alone to the rural cabin of
his childhood. There, for more than six months, he crawls, day-by-day,
away from the brink of insanity, using the daily stories he writes to
heal himself.
Motivated by dates on calendars, Cal's revelatory writings vary from
the apparent -- on Edward Gorey's birthday (February 27), Cal produces
a macabre alphabet -- to the indirect -- Jack Ruby's death (January 3,
1964) evokes a surrealistic pondering on secrets. Odd juxtapositions
often stir some strangely effective muse: E.E. Cummings birthday
(1894), Mata Hari's execution (1917), and Marshall Rommel's suicide
(1944) all occurred on October 14 -- thus a poem in Cummings' style
with references to the exotic spy and the Desert Fox, but still
connected to Cal's life. Events of September 11 [The Boston Red Sox
win their last World series (1918), a year before selling Babe Ruth to
the Yankees; William Sydney Porter (O. Henry) born (1862)] produce a
Henry-esque story of sandlot baseball, fathers and sons
Cal's jittery emotional state is processed and calmed through his odd
form of calendar contemplation. He's like a meth tweaker transformed
into a Zen master. In Tem's skilled hands, the intangible is made
tangible through metaphor and imagery. He transcends his own gimmick
to achieve a work that is both intriguing and inspirational. -- (Review originally
appeared in Cemetery Dance #45)
Copyright © 2003 Paula Guran. All Rights Reserved. |
One would think it natural for fantasists to take chances with the
form of their fiction. What, after all, is more audacious than
fantasy? Still, few ever stray from the straight and narrative --
perhaps this reticence arises from a lack of skill rather than
courage. Steve Tem possesses both the guts and the ability to try
about anything with his fiction and his best work (like "The Man on
the Ceiling" co-written with Melanie Tem) is often that which strays
farthest from the oft-trod trail.