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The Knife Thrower and Other Stories

4.03 of 5 stars 4.03 · rating details · 547 ratings · 55 reviews

The Knife Thrower introduces a series of distinctively Millhauserian worlds: tiny, fabulous, self-enclosed, like Fabergé eggs or like the short-story genre itself. Flying carpets; subterranean amusement parks; a band of teenage girls who meet secretly in the night in order to do "nothing at all"; a store with departments of Moorish courtyards, volcanoes, and Aztec temples:...more

Published (first published 1998)

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Aug 18, 2012 Maureen is currently reading it · review of another edition

Shelves: 2012, short-stories

review to come but for now:

i am in love with the story, "a visit". extended passage transcribed below, in spoiler tags -- i'm not ruining the story here, but by sharing the passage i give away what the story is about.

(view spoiler)...more review to come but for now:

i am in love with the story, "a visit". extended passage transcribed below, in spoiler tags -- i'm not ruining the story here, but by sharing the passage i give away what the story is about.

(view spoiler)[His little mocking rebuke irritated me, and I recalled how he had always irritated me, and made me retreat more deeply into myself, because of some little reproach, some little ironic look, and it seemed strange to me that someone who irritated me and made me retreat into myself was also someone who released me into a freer version of myself, a version superior to the constricted one that had always felt like my own hand on my throat. But who was Albert, after all, that he should have the power to release me or constrict me-- this man I no longer knew, with this run-down house and his ludicrous frog-wife. There I ate for a while in sudden silence, looking only at my food, and when I glanced up I saw him looking at me kindly, almost affectionately.
"It's all right," he said quietly, as if he understood, as if he knew how difficult it was for me this journey, this wife, this life. And I was grateful, as I had always been, for we had been close, he and I, back then.
After lunch he insisted on showing me his land-- his domain, as he called it. I had hoped that Alice might stay behind, so that I could speak with him alone, but it was clear that he wanted her to come with us. So as we made our way out the back door and into his domain she followed along, taking hops about two strides in length, always a little behind us or a little before. At the back of the house a patch of overgrown lawn lead to a vegetable garden on both sides of a grassy path. There were vines of green peas and string beans climbing tall sticks, clusters of green peppers, rows of carrots and radishes identified by seed packets on short sticks, fat heads of lettuce and flashes of yellow squash-- a rich and well-tended oasis, as if the living centre of the house were here, on the outside, hidden in the back. At the end of the garden grew a scattering of fruit trees , pear and cherry and plum. An old wire fence with a broken wooden gate separated the garden from the land beyond.
We walked along a vague footpath through fields of high grass, passed into thickets of oak and maple, crossed a stream. Alice kept up the pace. Alice in sunlight, Alice in the open air, no longer a grotesque pet, a monstrous mistake of Nature, a nightmare frog and freakish wife, but rather a companion of sorts, staying alongside us, resting when we rested--Albert's pal. And yet it was more than that. For when she emerged from the high grass or treeshade into full sunlight, I saw or sensed for a moment, with a kind of inner start, Alice as she was, Alice in the sheer brightness and fullness of her being, as if the dark malachite sheen of her skin, the pale shimmer of her throat, the moist warmth of her eyes, were as natural and mysterious as the flight of a bird. Then I would tumble back into myself and realize I was walking with my old friend beside a monstrous lumbering frog who had somehow become his wife, and howl of inward laughter and rage would erupt in me, calmed almost at once by the rolling meadows, the shady thickets, the black crow rising from a tree with slowly lifted and lowered wings, rising higher and higher into the pale blue sky touched here and there with delicate fernlike clouds.
The pond appeared suddenly, on the far side of a low rise. Reeds and cattails grew in thick clusters at the marshy edge. We sat down on flat-topped boulders and looked out at the green-brown water, where a few brown ducks floated, out pst fields to a line of low hills. There was a desolate beauty about the place, as if we had come to the edge of the world. "It was over there I first saw her," Albert said, pointing to a cluster of reeds. Alice sat off to one side, low to the ground, in a clump of grass at the water's edge. She was still as a rock, except for her sides moving in and out as she breathed. I imagined her growing in the depths of the pond, under a mantle of lilypads and mottled scum, down below the rays of green sunlight, far down, at the silent bottom of the world. (hide spoiler)](less)

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Mar 24, 2012 Evan Leach rated it 4 of 5 stars · review of another edition

Shelves: short-stories, literary-fiction, 1990-1999

I learned about Steven Millhauser after the New York Times selected Dangerous Laughter as one of the best books of 2008. I loved that book so much that I scooped up The Knife Thrower the second I saw it at the used bookstore. The Knife Thrower is a bit more uneven than Dangerous Laughter, which had at least one novel concept that really engaged me in each story. However, I think that the best stories in The Knife Thrower actually surpass Dangerous Laughter: two of the short stories in this colle...more

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Jun 23, 2007 Sam rated it 3 of 5 stars

Shelves: shortfiction

If ever one writer had pet obsessions that he recycles, story after story, that writer is Steven Millhauser. The progression of artists towards stranger and stranger forms and obsessions or children growing up through psuedo-magical means form the basis of almost every story in this collection, and while the prose, as always, is quite strong, there's an equally strong sense of treading water. In "The Dream of the Consortium" we get a picture of an enormous department store selling the world's co...more

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Dec 22, 2012 Zoe Brooks rated it 4 of 5 stars

Shelves: magic-realism

Millhauser's short stories fall in to two types: the dreamlike more poetic stories focused on individuals and often written in the first person and the more formal almost objective accounts of subtle alternative history. The stories often start out in an apparently normal mundane world before moving into the magical alternative realities, drawing the reader with them.

There are certain themes that run through the stories. His characters seem to be trying to escape the world, flying above it on a...more

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Oct 02, 2009 craige rated it 4 of 5 stars

Shelves: recentlyread

So, I really had not read this book, or if I had, I utterly had forgotten it. I thought the stories all went on a bit too long and the 2nd and 3rd one were a bit rambly. The imagery was great, though. And I do tend to enjoy a new story that builds upon a legend, as the 2nd and 3rd stories do. But I have to wonder how come the first story was included with these two. I have to guess that it fits with them because of the house imagery as all three stories had interesting structures as part of them...more

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Jun 29, 2007 Shawn rated it 5 of 5 stars · review of another edition

I particularly love Millhauser's work with the plural, communal narrator here -- I don't think I've ever seen it done with such skill, and the result is often creepy and insidious in the way that groupthink really is. Title story is amazing, and I feel like I can actually see the unbelievable worlds he created in Dream of the Consortium and Paradise Park. The stories are also fascinating for their approach to form and structure -- they frequently don't follow a traditional narrative built on cha...more

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Nov 08, 2012 Bandit rated it 4 of 5 stars · review of another edition

I picked this one up because I couldn't resist the cover art and the fact that it might have something to do with circus. This book lived up to my expectations and then wildly exceeded them. Not all of the stories sung to me, but the ones that did were absolutely amazing. The author creates a magical array of worlds within worlds, dark and mysterious and stunning to explore. In 3 of the stories (which ended up being my favorite) he literally built from the ground up these absolutely incredible s...more

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Apr 05, 2012 Alta added it

I discovered Steven Millhauser several years ago, when I found his collection of short stories, The Knife Thrower, at a library sale. Milhauser’s technique is very particular in that it uses a realist-psychological approach only to better thwart it by infusing it with elements of fantastic fiction. For example, in “A Visit,” the narrator is introduced to his friend’s wife, who happens to be a gigantic, ugly frog. A different writer would have described the scene in a surrealist style, but Millha...more I discovered Steven Millhauser several years ago, when I found his collection of short stories, The Knife Thrower, at a library sale. Milhauser’s technique is very particular in that it uses a realist-psychological approach only to better thwart it by infusing it with elements of fantastic fiction. For example, in “A Visit,” the narrator is introduced to his friend’s wife, who happens to be a gigantic, ugly frog. A different writer would have described the scene in a surrealist style, but Millhauser’s character ponders with a straight face the implications of his friend’s marriage to a frog. This encounter between the means of psychological realism and fantastic literature creates a disruptive tension and provokes in the reader a feeling that transcends the literal description.

Millhauser has the very rare genius of giving us the pleasure of reading that captivating stories usually arouse in us, while reflecting and engaging the reader in a reflection not only on the story itself and on the act of storytelling, but also on some serious topics, such as the relationship between technology and morality, the American obsession with technological progress and the extremes to which this obsession is carried. Yet he does this in such an oblique way that the reader may not even notice that the stories “The Dream of the Consortium” and “Paradise Park” are essentially two critical essays on American lifestyle done in the guise of storytelling. I believe that he manages to weave his ideas so smoothly into the fabric of the story—indeed the ideas are the story—for two reasons: 1) the narrator doesn’t judge from the outside, but is himself one of the crowd and, like the crowd, goes through a series of conflicting feelings, from nostalgia for the charm of the old department stores to being seduced by the new world of mega-malls, in which the old stores and pretty much everything on the planet is copied and transformed into a replica that can be purchased and sold; 2) the child in Millhauser is fascinated by all the incarnations of amusement parks, which, in turn, are incarnations of old fairs and freak shows—a magic world reminiscent of an Oriental bazaar, which is best represented in the story “Flying Carpets.”

It is no accident that the dream store in “The Dream Consortium” and the dream amusement park in “Paradise Park” are extremely similar. Both utopias are built on the desire to replicate life, that is, to transform everything into a copy that ends up taking the place of the original. For the business people in the dream store there is no distinction between a wristwatch and a Roman villa. In the dream store one can order and buy an entire European city, which is, of course, more convenient than traveling all the way to Europe. Sounds familiar? A cross between Las Vegas and Disneyland, Millhauser’s dream store and Paradise Park remind us of Baudrillard’s reflections on technology and simulacra. In “The Dream of the Consortium,” the entire world, or rather its replica, can be bought, sold and possessed by consumers. In “Paradise Park,” the consumers of increasingly titillating forms of entertainment descend into labyrinthine structures that imitate the real world from which they are trying to escape. But the search for ever more titillating amusements eventually turns onto itself like a snake biting its tail, and Paradise Park becomes a sort of Devil’s Park in which the ultimate pleasure is pain.

If one wants to find out more about Millhauser’s understanding of art one should read the story “The New Automaton Theater,” an ars poetica that should be compulsive reading in all creative writing classes. The narrator distinguishes between a “Children’s Theater,” built on a naïve realism that wants to keep the illusion of fiction at any price, and a theater for adults—the “new automaton theater”—in which the artifice of fiction is exposed for what it is, and the realist characters become “automatons.” The new automatons lack the grace of the realist ones from the Children’s Theater, but they are “profoundly expressive in their own disturbing way.”

Millhauser walks the very tight rope between the Children’s Theater and the New Automatons Theater, and he walks it brilliantly.

(less)

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Mar 03, 2012 Bucho R. rated it 3 of 5 stars

Shelves: dystopian, experimental, magical-realism, surreal, traditional-realism

This review has been hidden because it contains spoilers. To view it, click here.

Millhauser is the guy I should've been introduced to long before I read any Calvino or Bolano or Marquez or even Barthelme. He absolutely falls into that whimsical/playful style of prose and story-telling that appeals to my left-of-center aesthetic, but something kept bugging me while I read the stories in the collection: he wasn't taking the idea far enough for me.

Twelve stories spread out over 228 pages, but only two genuinely seemed to keep my attention rapt, "The Sisterhood of the Night" and...more

Millhauser is the guy I should've been introduced to long before I read any Calvino or Bolano or Marquez or even Barthelme. He absolutely falls into that whimsical/playful style of prose and story-telling that appeals to my left-of-center aesthetic, but something kept bugging me while I read the stories in the collection: he wasn't taking the idea far enough for me.

Twelve stories spread out over 228 pages, but only two genuinely seemed to keep my attention rapt, "The Sisterhood of the Night" and "The New Automaton Theater."

In "The Sisterhood of the Night," Millhauser sets up the story in a kind of mock court docket, splitting up certain people's testimonies versus passages like "What We Know" and "What We Assume." Right out of the gate, my interest is piqued because he's given the reader a bizarre and, as yet, unexplainable occurrence. The girls in this particular town are sneaking out at night to meet up with each other. Rumors abound; these midnight meetups are lesbian in nature or ritualistic in sinister, anti-establishment ways. Testimonies are given, members of the sisterhood are named, one commits suicide and stories change again and again.

It's told from the perspective of an adult, which I think gives the piece its strength. As I get older, I view the follies and idiotic nature of my youth in a different light than I did back then. This story's underlying strength is its focus on that dichotomy, that shift of mentality from youth to adult without outright saying it.

"The New Automaton Theater" was one of the few stories I wish had gone on longer despite it already being one of the longer pieces at twenty-four pages long. A society has come so far as to have created entertainment in the form of automatons, or (basically) robots. But these automatons have been worked on and perfected and toiled over for decades by masters and their apprentices. At the time of the story, there are so many automaton theaters that their exact numbers are incalculable. One immediately imagines an entire city of shops and houses surrounded by theater after theater after theater.

Then one day, a young prodigy emerges. His skills are on par with the rest of automaton makers his age, but soon he surpasses them and becomes THE guy to see. He creates automatons that do magic flawlessly and some that do magic that men can't do, which both impresses and disturbs others in his craft. After creating a female automaton, one man weeps at her performance and falls in love with her. The prodigy's talents become world-renowned as he constantly improves upon his work year after year until finally he disappears for ten years.

When he returns with a new show, the product is disturbing to some, unsettling to others, and flat out wrong to most. What Millhauser has done by the time you arrive at this bittersweet ending is embedded you so deeply into mentality of the town that you almost begin to think like them. The biggest problem with this is that it takes him so long in the beginning of the story to set it up that you wonder what the story is actually about.

Overall, Millhauser's collection is an entertaining read. I wasn't overly impressed by it, but his writing is fluid and moves easily across the page. If he's not describing a mall that's become a kind of warehouse selling off bits and pieces of life, he's showing you the possibility of a carnival that goes several levels and several thousand feet below ground purely to keep attracting new patrons. And while these are conceptually interesting, there's something holding Millhauser back. You can almost taste how much further he wants to take the idea, but he never goes over the line - and he should. As it stands, many of the stories end before they get truly interesting. (less)

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Oct 30, 2011 Anthony Tao rated it 4 of 5 stars · review of another edition

No one re-imagines the imagination quite like Millhauser. "The New Automaton Theater" is, quite undisguisedly, about the creative process. "Clair de Lune" is about the confluence of childlike daydreams and adulthood nostalgia. "The Dream of the Consortium" is an inversion of reality, in which creativity is commodified. There are, of course, dangers involved with a mind taking flight, as outlined in "Balloon Flight, 1870," and "Paradise Park" (where there are thoughts of suicide, symbolized by a...more

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Jan 26, 2011 Gabe Dybing rated it 3 of 5 stars · review of another edition

At World Fantasy Convention last year there was an interesting panel moderated by Darrell Schweitzer titled "What We Stole from Borges," or something like that. I, myself, haven't read a lot of Borges, but from what I learned as a member of the panel's audience, I think Millhauser should have been at that long table, as well.

Most of these stories belong to that emergent Borges-ian genre of the subtle alternate history given as a news article or expository essay. So many of these offerings aren't...more

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Aug 06, 2011 Phil rated it 4 of 5 stars

This is the first book by Millhauser that I've read, and I really enjoyed it. As others have mentioned, there are recurring themes in many of these stories - flight, underground passages and chambers, mysterious stage shows, scale models - most of which take place in small towns. Both "The New Automaton Theater" and "Paradise Park" seem like they could be, at least in part, allegories of cultural or art history.

Millhauser is often compared to Borges, and indeed both deal frequently with the nat...more

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Mar 07, 2009 Nicole rated it 3 of 5 stars

Shelves: do-you-believe-in-magic, short-stories-to-kick-ass-by

What I love about this collection is the expert use of dark elements and a vague but pervasive sense of something sinister just around every corner. This is present in every story here, but struck me as most successful and walking the finest line in the title story. His details are also carefully chosen and placed with awesome precision. In several stories here in particular, Millhauser exhibits an uncanny knack for singling out the one exactly right detail that will sum up the scene for us, spa...more

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Nov 07, 2010 Tim Storm rated it 5 of 5 stars · review of another edition

About half of theses stories are kind of plotless; the other half are quite gripping plot-wise. His plotless stories are Borgesian philosophical fictions that end up being allegories for our postmodern world. "The Dream of the Consortium," for instance, is about an impossibly large department store that sells just about anything you could want, including full size replicas of ancient ruins. "The consortium was determined to satisfy the buyer's secret desire: to appropriate the world, to possess...more

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May 15, 2013 Bob rated it 4 of 5 stars

The first couple of stories are of that variety built around on a single unusual premise - the knife thrower who intentionally slightly injures his assistants, a man who inexplicably marries a large frog. Sometimes the magical realism elements seem to serve solely as metaphors, lacking the sheer imaginative joy of outright fantasy. The best and longer stories, "The New Automaton Theater" and "The Dream of the Consortium" for example, have echoes of Angela Carter and Borges. The writing is a bit...more

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Jun 04, 2012 Vince Darcangelo rated it 4 of 5 stars · review of another edition

Shelves: fiction, short-stories

Faves:

"The Knife Thrower," one of my all-time favorite stories
"Paradise Park," classic, total classic--amazing piece of contrafactual metafiction
"The Sisterhood of Night"

From "Paradise Park":

"It is nevertheless true that the brief history of Paradise Park, when separated from legend, may lead even the most cautious historian to wonder whether certain kinds of pleasure, by their very nature, do not seek more and more extreme forms until, utterly exhausted but unable to rest, they culminate in the...more

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Nov 11, 2011 Theresa added it

Shelves: 2011

These stories have the feel of old Twilight Zone episodes.

The first paragraph of "Flying Carpets" reads like an early draft for the first paragraph of "Dangerous Laughter." So it's interesting to see how Millhauser not only revisits the same themes but also sculpts and refines the language. You could complain that he's regurgitating his own work, but I would argue that this is how a craftsman becomes a craftsman. Painstaking, meticulous stuff. I always feel like I should be wearing a jeweler's...more

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Jun 14, 2012 Oscar rated it 4 of 5 stars

Shelves: relatos, mainstream, literatura-fantástica, slipstream

Aun los que nos rendimos ante estas obras sentimos cierto desasosiego, pues nos perturban como placeres prohibidos, como crímenes secretos.

Steven Millhauser es todo un ilusionista. Te muestra una historia que no ha sido pero que pudo haber sido, y lo sabes, aunque al leerla estás más que satisfecho de que te engañe durante lo que dura uno de sus cuentos. Sus historias hablan de hechos, lugares y personajes que nunca existieron, con ciertos elementos de realismo mágico, o directamente elementos...more

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May 07, 2008 Robert rated it 4 of 5 stars

As soon as I read a few of Steven Millhauser's stories in The New Yorker (and Harpers? I think...) I knew that he would be one of my favorite writers. There are certain writers whose voices pierce right into you, and Millhauser is one of them for me. But then I waited a long time before reading a full book by him. In the meantime, one of his stories was adapted into the film "The Illusionist." Despite the fact that Millhauser has won a Pulitzer, every time I looked for one of his books at a Bord...more

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Apr 29, 2008 Michael rated it 4 of 5 stars · review of another edition

This collection of Steven Millhauser's cumulatively feels like one story, the main character a first person plural voice the reader knows as "we." From story to story, We insists on a set of "firmly" established cultural values that are challenged--by a knife thrower, a consortium that develops an extravagant department store, an amusement park developer, etc.--and ultimately proved tenuous. We cannot resist amusement that pushes previously assumed ethical boundaries for the sake of entertainmen...more

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Mar 01, 2012 Leah Lucci rated it 4 of 5 stars

As with all collections of short stories, it's a mix of hit and miss. I'm giving it four stars, just for the exceptional stories contained.

The theme of this collection is the thin line between fantasy, art, and reality.

Most of the stories are about magical worlds that people create and then fall into.

Two of the most notable stories feature a department store that begins selling replicas of things that are better than the originals, and an amusement park that the owner becomes obsessed with, a...more

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Mar 17, 2009 Melanie rated it 4 of 5 stars

I'm reading this very slowly - a story or two every few weeks - and I'm finding that I'm enjoying it that way much more than if I sat down for one long read of it. This way, the fact that the voice of the stories is always so similar isn't bothering me at all, because I am reading them as completely separate entities. I always say I'm not a short story reader, but I'm wondering if that's because I've been reading them wrong all this time, and I should have been approaching them more like I'm app...more

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Apr 16, 2012 Benjamin Obler rated it 3 of 5 stars

Solid collection showing his talents as a storyteller. He's considerably original and a very tidy writer. Perhaps a little cold and cerebral. Some stories are strongest in concept and execution, rather than really dazzling prose or searing insights into human nature. A touch lacking in heart.

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Feb 25, 2009 ♥Van'Nesia Scott Aka♥ J.K.`s Bitch♥ added it

♥THIS BOOK IS ABOUT A GIRL WHO IS WRITING A PEN PAL FROM FAR AWAY UNTIL ONE DAY SHE FINDS OUT THAT HE IS RELATE TO ONE OF HER FRIENDS AND SHE MEETS HIM ONE DAY AND DECIDES HE IS WAY TO OLD FOR HER AND THAT THEY WOULD BE BETTER OF AS JUST GOOD FRIENDS!♥

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Dec 15, 2008 Rhiannon Frater rated it 5 of 5 stars

People may disagree with me, but a lot of these tales came across as subtle horror. In fact, a few really unsettled me and haunted me well after I finished the novel. I really loved this book of short stories and highly recommend it.

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Oct 31, 2011 Peter rated it 5 of 5 stars

I read this book many years ago. I have reread it several times since then. It is an eclectic collection of short stories by a master of the form. Don't expect the predictable here

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May 12, 2012 Paul rated it 2 of 5 stars

Collection of short pieces, the longest is an extended short-story. The title story is the most impressive. The other pieces often offer promise with interesting ideas, but tend to fail to deliver at the end. Some of the pieces seem to be the same story written in different ways. Disappointing overall.

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Dec 01, 2009 Rachel rated it 4 of 5 stars

Shelves: stories

" 'That's all over,' Harter said aloud, and took another step before the ground slipped away from him. He had a fierce desire to explain something, something of immense importance, but it was difficult to collect his thoughts because his chest itched, somewhere a train was roaring, hundreds of yellow butterflies were beating their wings like mad." - from The Way Out

Some of my favorite writing in the universe - one star off, though, for repetition, which has been noted in previous reviews. Millha...more

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Jan 03, 2010 Nathan James rated it 2 of 5 stars

Shelves: short-stories, 2009

I enjoyed the title story and 2 others. The rest I found difficult to plug into. For me, the short stories that were written as fables worked better. Steven Millhauser (who penned the movie The Illusionist) is always good for interesting plot lines - an ever-expanding fun park in 1907 NYC, audiences reaction when a knife thrower toys with them, a city at the crossroads of an underground passageway system. What I didn't get from most of these stories is a sense of character. They felt more like n...more

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Dec 22, 2009 Greta rated it 5 of 5 stars · review of another edition

Stephen Millhauser is the closest thing to Borges I have read. His stories are imaginative, strange, and always thought-provoking.

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