| Vintage Pulp | Nov 5 2019 |
Handle with care. Do not bend or crush. This end up. Ignore all noises from within. And most importantly—do not open.
The Box is one of Peter Rabe's strangest tales. It's the story of a man named Quinn who's punished for his transgressions against a bunch of NYC gangsters by being sealed in a coffin-like crate and shipped across the planet. The good news is he's sealed in with numerous canisters of water and packs of c-rations. The bad news is he has to lie in darkness, terror, and filth. He's supposed to end up right back in New York after some weeks on the high seas, but fate intervenes when the box is opened ahead of schedule in Libya. The town, called Okar, has some criminal goings on, and since Quinn's ornery nature makes him disruptive by habit, he can't help putting himself right in the middle. The folks that freed him soon realize they'd have been better off leaving him shut away.
The book is okay. We liked the idea of Quinn continuing to live in a metaphorical box, even after he's escaped one physically. The thing about Rabe, though, here and in other efforts as well, is that he builds his story upon lots of verbal interplay and emotional subterfuge, filling the narrative with scenes of people never quite saying what they mean, and characters trying to understand the deeper implications of what they hear. It may confound some readers. Rabe is simply a very internal writer. We've compared him to Ernest Hemingway, which is easy to do considering Papa's vast influence, but in this case the similarities are particularly clear. The fact that the story is basically impossible to believe is almost disguised by Rabe's strong style. Almost. 1962 copyright on this, with art by Barye Phillips.
The book is okay. We liked the idea of Quinn continuing to live in a metaphorical box, even after he's escaped one physically. The thing about Rabe, though, here and in other efforts as well, is that he builds his story upon lots of verbal interplay and emotional subterfuge, filling the narrative with scenes of people never quite saying what they mean, and characters trying to understand the deeper implications of what they hear. It may confound some readers. Rabe is simply a very internal writer. We've compared him to Ernest Hemingway, which is easy to do considering Papa's vast influence, but in this case the similarities are particularly clear. The fact that the story is basically impossible to believe is almost disguised by Rabe's strong style. Almost. 1962 copyright on this, with art by Barye Phillips.
