A Kind of Flying is an omnibus that features most of the stories previously published in the collections, The News of the World, Plan B for the Middle Class, and The Hotel Eden. There are two types of stories in this collection: Carlson’s brand of contemporary realism, and Carlson’s brand of the fantastic.
If we can define magical realism by the blending of a specific culture’s folklore and contemporary fiction, then many of Carlson’s stories in the latter category fit into the magical realism that pays homage to American folklore and urban myths (or suburban myths). The story, “Bigfoot Stole My Wife,” is the narrative of a man confessing is irrational fears of exactly what the title suggests. By the end of the story, the reader understands that this narrator is in classically unreliable and in state of blatant denial – an interesting reading in itself, but paired with the story that follows “I Am Bigfoot,” the reader not only has the first privilege of experiencing Carlson’s retelling of suburban and urban myths, but it also gives the narrator of the previous story a newfound and credible ethos untarnished by delusions or denial.
“Phenomena” deals with a UFO sighting and the “The Chromium Hook” is at once an engaging remaining of the hook urban legend and an exercise in effective modular storytelling through shifts in point of view.
Other oddities that might not jive with my already loose interpretation of magical realism include “Max,” a story about a dog; “On the U.S.S. Fortitude,” a narrative from the point of view of an aircraft carrier mother with all the same gripes one would expect an aircraft carrier mother to have (how her children don’t land the planes with any care, whatsoever); “The Tablecloth of Turin,” a kind of sales pitch by a man who swears he possesses the table cloth on which the last supper took place; and the anachronistic, “What We Wanted To Do,” a Medieval report on one army’s failed attempt at pouring boiling oil on its enemies.
Carlson’s realist stories are in top notch, as good as anything Carver, or Cheever, or Ford, or Wolff might write. Most are in first person, and most possess Carlson’s unique and endearing voice; lots of parenthetical comments and asides giving his first person narrations a genuine and easy conversational tone.
Easy is the key word. Carlson makes what he does look easy breezy. A the risk of being book reporty, I think a plot summary of the stories as a whole is the most illuminating criticism: here, we have stories about husbands, workers, mothers, wives, and fathers living ho-hum lifestyles yet without cynicism or pessimism. Carlson manages to make the contemporary suburban family charming, marriage something to be praised, and the status quo valuable without slipping into sentimentality or melodrama. Quite a feat, I should say, and what a novel idea. His voice allows what would be otherwise mundane fiction to be worthwhile reading. Once again, he makes it look easy.
Favorites from this collection include, “The Governor’s Ball,” “The H Street Sledding Record,” “The Status Quo,” “The Summer of Vintage Clothing,” “Plan B for the Middle Class,” and “Keith,” a story that could’ve been a John Cusack movie from the 1987.