The Review of Contemporary Fiction

Former Virgin by Cris Mazza
Kristin Schar

Cris Mazza. Former Virgin. FC2, 1997. 145 pp. Paper: $11.95.

As the title suggests, Former Virgin is a handful of stories (thirteen) devoted to the sacrifice of innocence. At first glance the characters might seem normal, even typical, but upon closer examination, the creativity involved in their self-destruction becomes readily apparent; without exception, all elements of self are sunk into the overwhelming abyss of the dysfunctional relationship. Though motivated by the insatiable need to be noticed and loved, the characters, some oblivious, some slightly demented, and some eerily aware, are always searching for something else, something that might make them happier, something that doesn’t seem even to exist at all. Sometimes, as in “Adrenalin,” there is no clear-cut reason for their self-imposed downfall. The story concerns a woman, newly married to a man she loves, who commences an obsession with photography of a single subject—her husband. The slow abandonment of everything else in her life still doesn’t prompt her to change; she sees only him, but her eyes are replaced by a synthetic lens, creating an immeasurable distance between them. Through this twisted two-dimensional fascination, her husband in the flesh becomes obsolete and without realizing it, she loses interest in him, the adrenalin gone. In “The Cram-It-In-Method” a woman takes almost a frightening deliberation with her life. Like the narrator, we obtain our information by eavesdropping. The story involves two roommates who hardly know one another. One meets a man, and without too much thought and despite obvious differences, she decides to marry him. The narrator observes, “Maybe Annie’s father never taught her (like mine drilled into my head) that force doesn’t make anything work easier.” Consequently, the enormity of the wedding plans replaces the actual reason for the occasion and an ominous future lies ahead for the bride-to-be who makes a shallow, desperate decision. These stories, both darkly funny and serious, seem to raise perplexing issues about postfeminism: the women, who have ceased being the victims, ironically seem to take part in their own degradation. This pertinent collection is an intriguing and worthwhile read. [Kristin Schar]


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The Review of Contemporary Fiction Former Virgin by Cris Mazza Kristin Schar Cris Mazza. Former Virgin. FC2, 1997. 145 pp. Paper: $11.95. As the title suggests, Former Virgin is a handful of stories (thirteen) devoted to the sacrifice of innocence. At first glance the characters might seem normal, even typical, but upon closer examination, the creativity involved in their self-destruction becomes readily apparent; without exception, all elements of self are sunk into the overwhelming abyss of the dysfunctional relationship. Though motivated by the insatiable need to be noticed and loved, the characters, some oblivious, some slightly demented, and some eerily aware, are always searching for something else, something that might make them happier, something that doesn’t seem even to exist at all. Sometimes, as in “Adrenalin,” there is no clear-cut reason for their self-imposed downfall. The story concerns a woman, newly married to a man she loves, who commences an obsession with photography of a single subject—her husband. The slow abandonment of everything else in her life still doesn’t prompt her to change; she sees only him, but her eyes are replaced by a synthetic lens, creating an immeasurable distance between them. Through this twisted two-dimensional fascination, her husband in the flesh becomes obsolete and without realizing it, she loses interest in him, the adrenalin gone. In “The Cram-It-In-Method” a woman takes almost a frightening deliberation with her life. Like the narrator, we obtain our information by eavesdropping. The story involves two roommates who hardly know one another. One meets a man, and without too much thought and despite obvious differences, she decides to marry him. The narrator observes, “Maybe Annie’s father never taught her (like mine drilled into my head) that force doesn’t make anything work easier.” Consequently, the enormity of the wedding plans replaces the actual reason for the occasion and an ominous future lies ahead for the bride-to-be who makes a shallow, desperate decision. These stories, both darkly funny and serious, seem to raise perplexing issues about postfeminism: the women, who have ceased being the victims, ironically seem to take part in their own degradation. This pertinent collection is an intriguing and worthwhile read. [Kristin Schar]

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