In 'One Friday in April,' Donald Antrim reframes suicide as a state rather than an act — and marks its toll as vividly as anyone since William Styron.
” portray characters who are disrupted or unbalanced, doing their best to remain alive.
In revealing so much at the beginning of the memoir, Antrim telegraphs his intentions, which are to explore the experience of his illness rather than its arc. We know he has survived, of course, but the terms of this survival remain conditional, even so many years after the fact. It’s a deft and unexpected approach, diffusing narrative tension in favor of a more inchoate set of anxieties, which only expand the deeper we read.
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