Everything Ravaged, Everything Burned: Stories

Everything Ravaged, Everything Burned: Stories
by Wells Tower

Everything Ravaged, Everything Burned: Stories
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Book Summary Information

Author: Wells Tower
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2009-03-17
ISBN: 0374292191
Number of pages: 238
Publisher: Farrar, Straus and Giroux

Book Reviews of Everything Ravaged, Everything Burned: Stories

Book Review: Not so happy homes
Summary: 4 Stars

Everything Ravaged, Everything Burned: Stories
It would not be entirely misleading to compare Wells Tower to Raymond Carver. Some similarities are apparent in these stories of Tower's. The prose is spare and direct. People are trying to get their lives in order, but mostly failing. Drink often has something to do with it. The protagonists are not necessarily bad people - we see signs of kindness from several of them - just folks who have made mistakes.

Real things happen in the nine stories in this volume - animals die, a child is molested, men are beaten up, drugs are dealt, and so on - but the focus typically is on the hollow or scarred interiors of the characters, primarily men. Many are in seemingly transitional situations, but in most cases we are left with the sense that their lives are probably going to get worse.

Domesticity has been disrupted one way or another in each story. Spouses have separated, relatives tangle, step-parents intrude, and adult children have yet to get their lives together. They often reside temporarily in bleak dwellings, among them a decaying pink cinder block cottage on a "brown coast" with no beach, a cabin that is under construction and "starting to resemble something you'd buy your mistress to wear for a weekend in a cheap motel," a cramped West Village studio apartment "which was the architectural equivalent of a biscuit dough remnant," a shotgun cottage with "a million black wasps chewing holes in the clapboards," and a bunk in a carnival train car.

In several of the stories the chief characters live in or near woods, but typically in borderline areas with development encroaching. In "Retreat," Matthew is a real estate developer who plans to turn his Maine mountain forest land into one-acre plots for outdoorsy men. He and his estranged brother and his older friend share a quintessential male bonding and cleansing ritual: killing a moose and then field dressing it and taking it home to eat. The experience offers some hope for repair of the brothers' lives, but it doesn't quite work out.

Intentional or not, Tower contrasts the lost possibilities represented by the outdoors settings to the alienated lives of his chief characters. Matthew's brother Stephen, for example, is a music therapist and amateur composer who laments that anybody could do the music therapy sessions, that "You just march them through exercises. The composing, it's all I do.... I don't go out. I don't meet people. I sit in my [horrible] apartment and write. I could have spent the last two decades shooting heroin and the result would be the same, except I'd have more experiences to show for it." In "Executors of Important Energies" the narrator is an industrial designer who claims that, "you could say I'd had one real success, a machine that melted down your spare plastic grocery bags and poured the rendered plastic into interchangeable molds (golf tee, pocket comb, bicycle tire lever, etc.)." He calls himself "... a foot soldier in mankind's never-ending struggle for convenience, and how the small, unobserved technologies - remote key fobs, ball-point pens, Q-tips - shaped our lives in more significant ways than music, books, or film."

The final story, that of the title "Everything Ravaged, Everything Burned," initially seems quite different. It is set in Viking times, not in the present. It is very funny, partly because the characters are so nonchalant about what they do - raping and pillaging - and partly because of the modern idiom Tower employs in the conversational narrative. Harald and Pila live in comfortable domesticity compared to the characters in many of the other stories, in a "fine little wattle-and-daub cabin on a wide blue fjord stabbed into the land." In fact, Harald is the one man in the book who appears to get along well with his wife. However, he goes off occasionally on raids with his comrades. In this story they venture to Lindisfarne to deal with a turncoat Norwegian monk whom they suspect of casting spells sending dragons and causing crop blights. While the raiding party is wreaking havoc among the Lindisfarne residents Harald and his friends Gnut, Haakon, and Ørl choose to sit it out in the abode of Bruce and his daughter Mary. Gnut takes a shine to Mary and announces that he is taking her away with him to be his wife. Harald questions Gnut, "This a voluntary thing, or an abduction-type deal?" The latter, it turns out.

It also turns out, I believe, that there is indeed a plausible connection between this final story and the others. Each of the stories has merit, but they also integrate. Tower has obvious talent. While this is his debut book he is no novice, having written for The New Yorker and other literary periodicals. I will continue to read whatever he puts out as long as it is up to this standard.

Summary of Everything Ravaged, Everything Burned: Stories

Viking marauders descend on a much-plundered island, hoping some mayhem will shake off the winter blahs. A man is booted out of his home after his wife discovers that the print of a bare foot on the inside of his windshield doesn?t match her own. Teenage cousins, drugged by summer, meet with a reckoning in the woods. A boy runs off to the carnival after his stepfather bites him in a brawl.

In the stories of Wells Tower, families fall apart and messily try to reassemble themselves. His version of America is touched with the seamy splendor of the dropout, the misfit: failed inventors, boozy dreamers, hapless fathers, wayward sons. Combining electric prose with savage wit, Everything Ravaged, Everything Burned is a major debut, announcing a voice we have not heard before.

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