The Barnum Museum is a combination waxworks, masked ball, and circus sideshow masquerading as a collection of short stories. Within its pages, note such sights as: a study of the motives and strategies used by the participants in the game of Clue, including the seduction of Miss Scarlet by Colonel Mustard; the Barnum Museum, a fantastic, monstrous landmark so compelling that an entire town finds its citizens gradually and inexorably disappearing into it; a bored dilettante who constructs an imaginary woman--and loses her to an imaginary man!--and a legendary magician so skilled at sleight-of-hand that he is pursued by police for the crime of erasing the line between the real and the conjured.
Ingeniously written and orchestrated, each exhibit in The Barnum Museum will compel you to continue, each story becoming a lure to the next.
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Steven Millhauser was born in 1943 in New York City, and grew up in Connecticut. He received a B.A. from Columbia University in 1965, and went on to pursue a doctorate in English at Brown University. He never completed his dissertation, but did complete a novel that was eventually published in a pared-down form under the title "From the Realm of Morpheus-as well as Edwin Mullhouse". However, it was for his stories that Millhauser became best known; immaculately written, curiously vivid, they trod on fantastic boards in a manner reminiscent of Poe or Borges, but with a distinctively American voice. After "In the Penny Arcade", Millhauser's collections continued with "The Barnum Museum" (1990), "Little Kingdoms" (1993), and "The Knife Thrower and Other Stories" (1998). Steven Millhauser lives in Saratoga Springs, New York, and teaches at Skidmore College.
Imagine a funhouse gallery of fictive techniques and ideas, and you'll have some sense of these stories. "A Game of Clue" delineates the line between strategy and chance in a board game while plotting the relationships among the players. "Klassik Komix #1" is a riotous pop comic version of "The Lovesong of J. Alfred Prufrock." Other stories recast classic tales in a counterpoint of scholarly satire and nostalgic reverence; one is a melancholy monolog in the manner of Poe. The gimcrackery and excess of the title piece echo in the fin de siecle charm and foreboding of "Eisenheim the Illusionist." Both stories are about crossing the boundaries between art and life, appearance and reality. In this concern for the role of the artist as iconographer, artificer, conjurer, the author's work invites comparison with that of Robertson Davies. Millhauser's distinctive mix of stylistic dazzle and erudite wonder will intrigue admirers of his Edwin Mullhouse ( LJ 8/72), In the Penny Arcade ( LJ 1/86), and From the Realm of Morpheus ( LJ 9/1/86).
- Mary Soete, San Diego P.L., Cal.
Copyright 1990 Reed Business Information, Inc.
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