Knife Thrower & Other Stories (Hardcover)

Even those stories that do have a mundane, contemporary setting, such as The Dream of the Consortium, also contain something of the mysterious as well. In this story, an ordinary shopping mall becomes a world of Moorish courtyards and Aztec pyramids. In The Sisterhood of the Night, a secret society of girls, not so unusual in itself, manages to encompass the mysterious when the girls slip out of their homes to indulge in nothing more than silence. In Clair de Lune, a boy finds himself at a baseball game. But this is a nocturnal baseball game, played by girls who are dressed as boys. Flying Carpets is a fascinating story that details both the joys and the problems inherent in that particular mode of travel.

At first glance, Millhauser's stories might appear to be little more than surreal melodramas, stories that definitely have virtues but stories that also cause the reader to give up in despair. This, however, is certainly not the case. Millhauser, like Kafka, draws us effortlessly into the shimmering worlds of his imagination through his poignant and expert use of detail and the elegance and beauty of his poetic prose.

In five of these twelve stories, Millhauser uses the first person plural to wonderful effect and effectively allows his narrators to speak, not only for themselves, but for their community as well.

The title story, one of the collection's best, centers around a knife thrower named Hensch and the single performance given by Hensch and his assistant which involves a series of increasingly dangerous tricks. Like the audience, we remain uncertain about what it is we really witness as the story draws to a surprising close.

Those already familiar with Millhauser's work will be reminded of his gorgeous story, Einsenheim the Illusionist which also follows the path from ordinary to extraordinary. Other stories in this fascinating collection also bear a debt to Millhauser's earlier work, most notably The New Automaton Theater which is reminiscent of Millhauser's novella, August Eschenburg. Both offer a biography of a master automaton maker. While August Eschenberg finds himself trumped by a fellow creator, the central character in The New Automaton Theater, Heinrich Graum, stops work at the height of his success and remains silent for a period of a dozen years. When Graum finally does return to the theater he finds something very surprising and disturbing has happened to his work.

Although the first person plural seems to dominate these stories, some of the most vivid and intimate are written in the first person singular. In, A Visit, the narrator goes to see an old friend in a remote town and finds that he is married, quite happily, to a very large frog. As implausible as this story sounds, it becomes quite believable, mostly due to Millhauser's extraordinary talent for visual detail.

No Way Out is the sometimes humorous story, reminiscent of South American writer Julio Cortazar, in which a man learns the dubious distinction of honor versus dishonor.

Balloon Flight, 1870 is an account of an attempt to escape occupied Paris in a balloon. The narrator is at first exhilarated by his new perspective of the world from the air, but as the balloon ascends to 10,000 feet, he begins to experience dread, instead.

Like the narrator of Balloon Flight, 1870, Millhauser is an author whose protagonists are always seeking escape, by ascending into the air or burrowing into the earth or perfecting their art, e.g., knife throwing. Sometimes these protagonists go too far, but in their struggles between the real and the surreal, art and life, they help to shed light on both the ordinariness and the extraordinariness of our own daily lives as well.

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