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A review by thoughtcouture
Seven Empty Houses by Samanta Schweblin
dark
tense
fast-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? N/A
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
3.25
This is the second National Book Award winner I've read, and the second National Book Award winner to underwhelm me. Is it me, or is it the National Book Award? Surely not the former.
I love the concept: seven short stories set in or around houses, houses missing something vital to their house-ness, whether that's furniture or memories or children. I wasn't expecting horror stories, but I was expecting to be made uncomfortable in the space I feel most comfortable, most secure. Many of these stories missed this mark.
In fact, many stories in this collection struck me less as stories, but beginnings of stories, most notably "Two Square Feet" and "Out." Just as I was anticipating some kind of revelation, they were over. Both stories--all seven, actually--had intriguing premises, but many weren't allowed the space to reach their full potential.
It's not surprising, then, that the story that did reach its full potential was the longest by a wide margin: "Breath from the Depths." This was the only story (more accurately, novella) of the collection that gripped me, unsettled me, was the only one I'd call memorable. Schweblin's measured revealing of the protagonist's dementia, alongside the unveiling of reality, was nothing less than brilliant. I've been thinking about this story for days now, and wish the others were as thoroughly worked.
<i>Seven Empty Houses</i> was my first experience with Samanta Schweblin, and though I'm underwhelmed, I'm sure she's gaining recognition for a reason. I won't give up on her so soon--perhaps a novel will show me what I'm missing.
I love the concept: seven short stories set in or around houses, houses missing something vital to their house-ness, whether that's furniture or memories or children. I wasn't expecting horror stories, but I was expecting to be made uncomfortable in the space I feel most comfortable, most secure. Many of these stories missed this mark.
In fact, many stories in this collection struck me less as stories, but beginnings of stories, most notably "Two Square Feet" and "Out." Just as I was anticipating some kind of revelation, they were over. Both stories--all seven, actually--had intriguing premises, but many weren't allowed the space to reach their full potential.
It's not surprising, then, that the story that did reach its full potential was the longest by a wide margin: "Breath from the Depths." This was the only story (more accurately, novella) of the collection that gripped me, unsettled me, was the only one I'd call memorable. Schweblin's measured revealing of the protagonist's dementia, alongside the unveiling of reality, was nothing less than brilliant. I've been thinking about this story for days now, and wish the others were as thoroughly worked.
<i>Seven Empty Houses</i> was my first experience with Samanta Schweblin, and though I'm underwhelmed, I'm sure she's gaining recognition for a reason. I won't give up on her so soon--perhaps a novel will show me what I'm missing.