In Cardinal and Other Stories, Alex Higley’s debut, a man returning a tuxedo suddenly follows a parking lot attendant home; a volunteer recovery worker finds himself re-enacting a deadly fire; a husband parses the meaning of his wife's online banking password; a hack musician travels to a German math institute. Post-Facebook, post-subprime crisis, the fearlessly deadpan characters in Higley’s stories navigate the bleak and surreal suburbs from Phoenix to Chicago with minimal instincts for self-preservation—and with quietly explosive results.
Stylish, perfectly controlled, and pleasurably shocking, Higley’s brilliantly subversive portraits of a lost generation reconfigure and reinvent the increasingly complex relationships between art, life, and the people we love.
1. There's a sort of half-menacing, half-comic David Lynchian quality to stories such as "Tom's Wrong," "Surfers," and "Cardinal”—would you say that even when you're writing about characters on the verge of a serious emotional reckoning, you're most interested in the strange, the ironic, the humorous?
I would say that’s probably true. That’s how I experience the world in my day-to-day life. Always wanting to turn to a friend, co-worker, my wife, and say “Did you see that?” or “Did you hear that?” Strange, oddly funny moments or bits of phrasing are often what I enjoy most in the books and movies I return to. You mentioned Lynch. It’s certainly there in his work, even in the quiet moments. Like in The Straight Story when Alvin Straight says, “What’s a Miller’s Lite taste like?” Hard to explain why a slightly misspoken corporate brand name can be beautiful other than specificity shows attention and dignifies the characters in their particularity. Great concern for the specific in fiction, or any art, matters to me and I think has much larger ramifications in our daily lives than is immediately obvious.