Summer's End: Stories by R.D. Skillings
Review by Doug Holder
R.D. Skillings is a mainstay of the
Fine Arts Work Center in Provincetown, Mass., where he has served as
a trustee and chair of its writing committee for decades. He has
mentored many young writers and has been prolific in his own
writing-- publishing collections of poetry, short stories, and
novels. Recently Christopher Busa of the Provincetown Arts Press
sent me Skillings' new short story collection “Summer's End” for review.
He felt that I might relate to this collection because of my own
youthful forays in Boston-- the rooming houses, the cat ladies, the
old haunts, etc... that I covered in my poetic memoir of Boston and
beyond “Portrait of an Artist as a Young Poseur.”
Skillings' book is an old fashioned one
in the best sense. He writes about Boston, Provincetown and the
environs before the tendrils of gentrification transformed them to
another thing entirely. This was when a dive bar was not a cutting
edge concept to lure tourists in to experience the sanitized grit of
the days of yore. This book goes back to a time when the red-light
district of the Combat Zone in Boston was flush with blinking neon
signs, ladies of the evening, strip clubs, and when on a wafting night
breeze one could hear the whispers of “ Hey, doll—want some
company?” At times Skillings' ear for dialogue impressed me as
much as the late, great George Higgins ( "The Friends of Eddie
Coyle”) did with his mastery of the vernacular—the linguistic
nuances that give the reader a “this is for real” moment. Whether
it is the tit for tat of some old men in a barbershop, or a floozy
in a seedy bar, the dialogue never seems stilted.
Skillings' characterization are right on
the money as well. Skilling is not in the habit of labeling or
creating stick figures. He realizes the complexity of the most down
and out, and challenged stumble bums. In the “ Girl who saw God,”
a group of 70-somethings and a younger barber have for years ritualistically
gathered at a barbershop in a small burg to chew the fat. At first
the conversation seems casual—but as it progresses the subtext
rears its head, and the discussion becomes more about life and death.
There is a talk of a young girl who told one of the older gents about
a near death experience she had, and her sighting of a divine, all
encompassing and welcoming white light at the end of the proverbial
tunnel. The young barber hears this and is brought to ponder
ontological question a midst his banal existence:
“ At a loss, already weary, dazed by
the thought of everything vanishing in light, he tries to recall his
wife's warm hips and sleepy morning smile, wishes, wishes he too
could hang up his white coat, forget his car, walk home the old way
through childhood streets beneath the bygone elms, and take her back
to bed for a long, long nap.”
In the “Tomb of Hiram Gooms”
Skillingtons' ear for dialogue bitch slaps you with its blunt, in
your face sensibility. In this story of a gone-to-seed, white trash
sort of gal ( Who we later learn has a surprising sensitivity) she makes
a pitch to a barkeep for a bit of carnal pleasure. She pleads her
case:
“I'd like a pole of prick with a red
head like a pomegranate right up my bazoo. I happen to know you've
got a wanger on you would make a heifer howl. What say we go out back
like we used to?'
Me thinks that Skillings might have
been influenced by the“ Spoon River Anthology” by Edgar Lee
Masters because of his wonderful descriptions of small town
characters-- that although not dead—for all practical purposes some of
them should be. In the same story, in the window of a hash house,
Skillington has his female narrator view a sort of museum of people
beaten down by life—like one Wally Wizzling, once a railroad
man—who goes into a nightly pantomime of waving his hands at an
imaginary oncoming train—fueled by booze and what haunts him.
Some stories have a meandering,
unfinished quality about them—but even in those you see Skillings'
mastery at work. Highly Recommended.
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