“Jail World” describes an Orwellian dystopia where the world’s population is confined in a correctional facility upheld by seven guiding “disciplines,” which include principles like “Don’t read” and “Live to eat.” Other stories, like “Windmill” and “The Dwitter Note,” imagine sci-fi futures, complete with flying cars and techno-communes, where governments have direct communication technology with each individual of the state. As the title suggests, empathy for “outsiders” abounds, including “the outcasts, the dissidents, the outlaws,” and more, though female characters tend to be one-dimensional.
Often satirical and thought-provoking, Andersen’s stories toy with morality, especially in the context of capitalism and overconsumption. “The Package” follows Sam in his obsessive quest to reclaim the parcel he believes lost in the mail; he ventures to mail centers and warehouses, causing strife and mayhem in his effort to claim his package and relieve the “pang of emptiness” he feels in its absence. Humanity is sacrificed in lieu of material objects. Andersen’s concluding vignettes—including an account of longing and drinking in military life, and an ambiguous memory of being sent to an adult man’s workshop to learn about hard work as a child—and “Short Shorts” lack the compelling narratives of the longer stories, yet his poetry in particular has an enriching complexity that readers can revisit again and again.
Takeaway: Somber, yet biting poems and stories exploring social and spiritual isolation.
Comparable Titles: Alan Kaufman’s The Outlaw Book of American Poetry, Donald Ray Pollock’s Knockemstiff.
Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B-
Marketing copy: A
