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- <text id=92TT0459>
- <title>
- Mar. 02, 1992: Swamp Gothic
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1992
- Mar. 02, 1992 The Angry Voter
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- BOOKS, Page 66
- Swamp Gothic
- </hdr><body>
- <qt>
- <l>SCAR LOVER</l>
- <l>By Harry Crews</l>
- <l>Poseidon; 284 pages; $19</l>
- </qt>
- <p> Imagine William Faulkner in a fright wig or Carson
- McCullers and Flannery O'Connor strapped side by side on a
- roller coaster, and you have Harry Crews writing Southern
- gothic. In 1990 he produced the uproarious Body, in which he
- yoked a family of half-crazy Georgia crackers to the queasy
- glitz of big-time body building. Now there's Scar Lover, a comic
- love story filled with death and mutilation.
- </p>
- <p> In one of the novel's many unhinged moments, a typically
- bizarre collection of Crews characters gather in a Florida swamp
- for the late-night cremation of Henry Leemer. As her father
- burns on the pyre, Sarah Leemer gives saccharine assurances to
- her lover, Pete Butcher, the angry-young-man hero; Sarah does
- indeed want a "houseful of little ones." When the ashes cool,
- the widow Gertrude Leemer, still recovering from a double
- mastectomy, hefts her husband's skull like a bowling ball and
- muses, "The final scar makes all of us safe from the world." She
- credits this insight to the sinister Linga, a giant Rastafarian
- woman with a face "beautifully scarred" by razor markings and
- dyed in a vivid multicolored swirl, who is passing out ganja
- cigarettes from a Sucrets tin.
- </p>
- <p> As long as Crews is taking big risks, like arranging an
- appallingly sentimental love scene against a backdrop of
- psychedelic macabre, Scar Lover works a kind of wacky magic. But
- his premise, which is roughly that scars have as much to do with
- healing as with hurt, doesn't carry him very far, and neither
- do the grotesque accidents that pass for plot.
- </p>
- <p> When he's not freewheeling, Crews is just plain sloppy.
- Set for no apparent reason in the mid-'50s, the novel has an
- unsettling contemporary feel that makes every detail seem
- anachronistic. The prose, taut and terrifying early on when sex
- is a threat and violence a seduction, goes limp once Sarah and
- Pete embark on an apple-pie romance. Even in the fun house of
- Southern gothic, losing control of the fine tuning is a mistake.
- </p>
- <p>By Adam Begley.
- </p>
-
- </body></article>
- </text>
-
-