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The Girl on the Fridge: Stories
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From Publishers Weekly
Advocates of flash fiction contend you can say a lot with a little. Unfortunately, you can also say a little with a little. Israeli writer Keret (The Nimrod Flipout) confirms both with this hodgepodge of 46 sketches, culled from his first collection. There are whimsical tales like Nothing, about a woman who loved a man who was made of nothing because this love would never betray her, and Freeze! about a guy who can stop the world and uses the power to score with hot girls. Despite an appealing, comic voice, many of these pieces feel insubstantial and leave the reader indifferent. Nevertheless, a haunting theme arises as stories featuring violence accumulate: Not Human Beings, in which an Israeli soldier is beaten by fellow officers when he objects to the cruel treatment of an old Arab man, screams in the face of bloodshed, whereas the irritation of the father in A Bet, when TV news reports on an Arab sentenced to death preempts an episode of Moonlighting, suggests how violence has been normalized. Keret demonstrates how the same short form that produces ineffective trifles can also create moments of startling power. (Apr.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
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Review
“Keret is a brilliant writer . . . completely unlike any writer I know. He is the voice of the next generation.†―Salman Rushdie“Keret may be the most important writer working in Israel right now; certainly he is the closest observer of its post-intifada, post-Oslo spiritual condition. And astonishingly, he is also the Israeli writer closest to the literary tradition of pre-Israel, pre- Holocaust European Jewry . . . Kafka said that literature should be an ax to break the frozen sea within us. Keret is a writer whaling at the ice with a Wiffle ball bat.†―Stephen Marche, The Forward“Short, strange, funny, deceptively casual in tone and affect, stories that sound like a joke but aren't--Etgar Keret is a writer to be taken seriously.†―Yann Martel“Keret can do more with six . . . paragraphs than most writers can with 600 pages.†―Kyle Smith, People
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Product details
Paperback: 171 pages
Publisher: Farrar, Straus and Giroux; First edition (April 15, 2008)
Language: English
ISBN-10: 0374531056
ISBN-13: 978-0374531058
Product Dimensions:
5.6 x 0.5 x 8.2 inches
Shipping Weight: 6.4 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
28 customer reviews
Amazon Best Sellers Rank:
#158,401 in Books (See Top 100 in Books)
Only recently -- through another Amazon reviewer, by the way -- did I learn about Etgar Keret. The book of his I chose to sample, essentially at random, was THE GIRL ON THE FRIDGE. It turns out, according to the book's back cover, to be a collection of "the best of Keret's" earliest books of short stories. If indeed these are the best of Keret, it is fortuitous that I made THE GIRL ON THE FRIDGE my introduction to him -- because while some of the pieces are very good, just as many are only so-so, and a few are trash.There is no denying, however, that Keret is an original voice. And that he has a very fertile imagination. There are forty-six stories in this volume -- the shortest containing only eleven lines, the longest seven pages, most only two or three pages. They all are somewhat zany, even manic. Some are violent; some are playful. Some are touching; a few are sick. In most of them, you are immediately thrown into the story with little if any orientation, and then, just as you are getting your bearings, the story veers in a wholly unexpected direction, or does an abrupt about-face, or shifts to a different reality altogether.For me, the three best pieces are "Asthma Attack", about how asthmatics must dispense their words very judiciously; "Freeze", a fantasy in which people (mostly, attractive young women) do whatever the narrator tells them to do; and "Terminal", which begins with the sentence "Hans and I had nothing in common except brain cancer."The stories are set in Israel. As a whole, the book seems to be critical of Israel's treatment of Arabs, but I can't be sure because the prevailing tone is so flippant. It may be that Keret is simply nihilistic in his basic approach to all aspects of contemporary life (at least life in Israel). Anyhow, by book's end, I felt that there was an emptiness or hollowness to Keret, and, despite his brilliance and originality, I have no desire to read more of him.
Short stories and sometimes very very short stories - maybe those (the really short ones) could be called prose poems, I don't know - but all of them are cryptic, unresolved, dark, surreal, weird, violent, and painful in varying combinations and by degrees. Most would be fine scripts for graphic novels. I have read work by Keret that I like (the short story A. in WIRED's recent sci-fi issue [which is why I bought Girl on the Fridge]), but did not find much to like here. Challenging, thought provoking, nightmare provoking, disgust provoking, with a bit of silliness, but not likable. I am guessing that Keret does not require his readers or wait for his readers to like his work.Buy a used copy of this one - no sense paying full price.
After reading Keret's "Suddenly a Knock at the Door," and "The Nimrod Flipout" this was a BIG disappointment. The dark stories often have a surprising twist, but there is something MISSING here. Remember this was written when Keret was quite young.
The voice of the next generation? Please. If so the next generation is in more trouble than anyone in the previous generations has noticed yet. Too many of these short-shorts only read like Keret ran out of energy or imagination.The few that work, like the very funny The Journey, the funnier Loquat, and, if possible the even better The Night The Buses Died, depend on some knowledge of Israeli culture. That figures. He's not writing for New York, even if one of the Big Six has anointed him a member of traditionally-published royalty. Probably for the violent stories, their favorite kind.They also set the exorbitant price for the ebook, trying to shore up their cratering paper business model. And their gatekeeper status. Good luck with that.There are a few other good, even inspired, stories here. Nothing, for instance, Happy Birthday to You, On the Nutritional Value of Dreams, Cheerful Colors, Boomerang, So Good and Knockoff Venus. Let's see, that's ten out of 46 stories, or 22 percent. Not enough to satisfy, but enough to try another, hopefully better, collection of Keret's work.
A great friend of mine loaned me this book saying is changed her. It had an amazing effect on me too. The book is written in very short stories, no more than a page or three at most. Each story is complete, explores an idea, an event, often with an unexpected component, not really a twist, just unexpected. The book is just the essence of stories. It's like a great red wine reduction ... flavorful, deep in color, hints of what could be a much bigger wine, but concentrated to accent your current mood.I think the first two stories: asthma and the marriage story stuck with me the most. The line in the first story goes something like this:"When an asmatic says "I love you," and when an asthmatic says "I love you madly," there's a difference. The difference of a word. A word's a lot. It could be stop, or inhaler. It could even be ambulance."
This is my first introduction to Keret and I will probably go back for more. His better pieces in the book are amazingly solid and linger in your system for a few days after reading.For American audiences, a few stories will probably go over your head as he's an Israeli author. The Night the Buses Dies comes to mind.Keret is definitely a writer aiming to induce emotion and thought more than tell a fulfilling story. That works amazingly in his favor for the most part, but it also makes his lesser stories seem almost pointless. This particular collection seemed to have more duds than gems, but what I liked, I really liked, so I'm willing to give it 4/5 stars.
Really spectacular. If you ever wished you could read stories that just got to the good part, these are them... Keret cuts out the backstories and the descriptions and the internal monologues and gets right to the heart of conflict. Spectacular.
Keret in top form, does not disappoint.
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