Hearts In Atlantis

HEARTS IN ATLANTIS offers five novellas, each examining both childhood and the Vietnam War. William Hurt opens the series with a quirky and riveting account of a summer in the lives of three Connecticut children and the adults who influence them. His odd pauses and rushing narrative clearly portray the images of childhood, and the unsettling ways of grown-ups, as well. King takes over for the title story, about a game of cards in a college dorm. No one else could bring to life the University of Maine like this alum, and no one else could better vocalize the deep woods accents of some of its students. The author falls short, however, in his narration of "Blind Willie." Believable in Maine, he doesn't cut it in New York City. But Hurt is back for the closing segments, "Why We're in Vietnam" and "Heavenly Shades of Night Are Falling," notably more subdued in these accounts of adult pain and longing than in his exuberant telling of childhood tales. Well-chosen musical sound bites punctuate all five stories. R.P.L. Winner of AUDIOFILE Earphones Award (c) AudioFile, Portland, Maine

August 30, 1999
By "Atlantis," King means the 1960s, that otherworldly decade that, like the fabled continent, has sunk into myth. By "hearts," he means not just the seat of love but the card game, which figures prominently in the second of the five scarcely linked narratives in this full-bodied but disjointed omnibus, King's third (after Different Seasons and Four Past Midnight). The stories proceed chronologically, from 1960 to 1999. The first, the novel-length "Low Men in Yellow Coats," is the most traditionally King: an alienated youth, Bobby Garfield, is befriended by a new neighbor, the elderly Ted Brautigan, who introduces him to literature and turns out to be on the run from villainous creatures from another time/dimension. A potent coming-of-age tale, the story connects to King's Dark Tower saga. The novella-length title entry, set in 1966 and distinguished by a bevy of finely etched characters, concerns a college dorm whose inhabitants grow dangerously addicted to hearts. The last three pieces are short stories. "Blind Willie," set in 1983, details the penance paid by a Vietnam vet for a wartime sin, as does "Why We're in Vietnam." The concluding tale, "Heavenly Shades of Night Falling," revives Bobby and provides closure. Sometimes the stories feel like experiments, even exercises, and they can wear their craft on their sleeves--in the way the game of hearts symbolizes the quagmire of Vietnam, for instance, or in how each narrative employs a different prose style, from the loose-limbed third-person of "Low Men" to the tighter first-person of "Hearts," and so on. With about ten million published words and counting, King probably can write a seductive story in his sleep and none of these artful tales are less; but only the title story rivals his best work and, overall, the volume has a patchy feel, and exudes a bittersweet obsession with the past that will please the author's fellow babyboomers--King nails the `60s and its legacy--but may make others grind their teeth.

August 30, 1999
This collection of five thematically linked short stories dwells on the legacy of the 1960s. They share a collective moodiness, a feeling of depressed hangover coming after youth has been lost and the nation has suffered troubled times. Read aloud, this pungent atmosphere is especially strong. A-list actor Hurt stylishly performs the lengthy opener, "Low Men in Yellow Coats," in which 11-year-old Bobby Garfield falls under the spell of an older man his mother has taken in as a boarder (a father figure who introduces him first to literature--Lord of the Flies--then to supernatural phenomena). Hurt skillfully evokes pathos from the story's fine detailing: its sense of small-town place and Bobby's child's-eye-view of the evil characters around him. King reads the title story, "Hearts in Atlantis," about Maine college students who mindlessly play cards instead of studying while the Vietnam War rages in the background. The author's modest, reedy voice rings with autobiographical truth--as the protagonist is a young would-be writer, na ve to the ways of the world. Taken together, at 21 hours' listening, however, King's shining moments too often give way to fatigue: the stories are repetitious, full of plot rehashings and meaningless asides. Also available on CD. Simultaneous release with the Scribner hardcover.