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Thirty-six stories--eight appearing in a book for the first time and a generous selection from her earlier collections--give us Ann Beattie at stunning mid-career.
Emotionally complex, edgy, and funny, the stories encompass a huge range of tone and feeling. The wife of a couple who have lost a child comforts her husband with an amazing act of tenderness. A man who's been shifting from place to place, always finding the same kind of people--sometimes the same people in various configurations--tries to locate himself in the universe. An intricate dance of adultery brings down a marriage. A housekeeper experiences a startling epiphany while looking into her freezer one hot summer night. The long, humorous roll of a couple's "four-night fight" finally explodes into happiness.
Beattie has often been called the chronicler of her generation, and these stories capture perfectly the moods and actions of our world since the seventies: people on the move, living in group houses, smoking too much dope; people settling down, splitting up, coming to terms.
Margaret Atwood said of a previous collection that "a new Beattie is almost like a fresh bulletin from the front: We snatch it up, eager to know what's happening out there on the edge of that shifting and dubious no-man's-land known as interpersonal relations." The new stories have the same power. A family secret is revealed in a strange and puzzling act that becomes understood only many years later. In an AIDS ward, certain questions take on special significance. A hostile eight-year-old and his father's live-in girlfriend move in fits and starts toward détente.
In prose by turns laserlike and lyrical, these memorable, evocative stories authentically recall the details and feelings of their time. But the truths revealed are--as in all fiction of the first rank--timeless.
- Sales Rank: #1240335 in eBooks
- Published on: 2015-07-15
- Released on: 2015-07-15
- Format: Kindle eBook
Amazon.com Review
Ann Beattie arrived on the literary scene in the early 1970s, publishing the first of her carefully understated short stories in the New Yorker and becoming something of a legend for the speed with which she worked--22 stories in a year, and a complete draft of her first novel, Chilly Scenes of Winter, in three weeks. Time has not slowed Beattie down--her fifth collection, Park City, follows hard on the heels of her fifth novel, My Life, Starring Dara Falcon, providing a kind of symmetry to her output. Lest you think Beattie is some kind of perpetual writing machine, however, be forewarned that only 8 of the 36 stories in this collection have not been previously published in book form; the rest are selected from earlier collections, thus offering an interesting survey of how the writer has changed--and how she hasn't.
From the start of her career, Beattie has been compared to Cheever and Updike, chroniclers of the chilly middle classes, and also to Raymond Carver, master practitioner of that school of literature known as minimalism. Beattie's stories seem smaller than life in some ways, depending as they do on an accretion of detail to round out her characters' lives. In her world, as in our own, there are no grand epiphanies, no moments of blinding realization. Instead, her characters muddle through their days in a series of small events that culminate in a whisper instead of a bang. In "Going Home with Uccello," for example, a woman on holiday with her lover in Italy watches him interact with a woman in a museum gift shop and realizes his true purpose for the trip is not to convince her to make a commitment to him, but rather to "persuade himself that he loved her so much that no one else could be a distraction--that no other woman could come between them." In "What Was Mine" another nameless narrator--male, this time--claims his inheritance from the man who had been his widowed mother's lover and the only father figure he'd ever known: There was sheet music inside: six Billie Holiday songs that I recognized immediately as Herb's favorites for ending the last set of the evening. There were several notes, which I suppose you could call love notes, from my mother. There was a tracing, on a food-stained Merry Mariner place mat, of a cherry, complete with stem, and a fancy pencil-drawn frame around it that I vaguely remembered Herb having drawn one night. There was also a white envelope that contained the two pictures of one of the soldiers on Guam; one of a handsome young man looking impassively at a sleeping young baby. I knew the second I saw it that he was my father. Understanding, such as it is, comes in the quiet moments, in the exchange of glances in a gift shop, or the transposed captions on a couple of photographs.
Over the years, Beattie has continued to map the psychological and emotional territory of the urban, the educated, the neurotic middle class. On those occasions when her stories are set outside of New York--Vermont, Park City, Utah, Italy--her characters are generally from there, or at least from another large city such as Los Angeles. Beattie's prose has always been crisp, smart with just a touch of the smart aleck to it--on occasion she can be remarkably funny. But there's a chilliness in her stories that discourages the reader from getting too close, or investing too much. Her often nameless narrators tell their tales in the modulated tones of well-brought-up people for whom not wearing one's heart on one's sleeve is a religion. And yet in their spare revelations of loss and disappointment, their timid essays to the borderlands of hope, more often than not these characters do get under your skin. Depending on your tolerance for ambiguity, they can either irritate or captivate. Beattie's work tends to play to the intellect rather than the gut. For readers looking for a shot to the cerebellum, she satisfies; for those who prefer their fiction warm-blooded, Park City might be a trifle too cool. --Alix Wilber
From Publishers Weekly
Remarking in an author's note that the same first names keep popping up in her work, Beattie (My Life Starring Dara Falcon, 1997, etc.) writes that she "intended no linkage from story to story?though there are a few in-jokes, of course." In fact, her stories are the in-jokes of an era. Since they first appeared in The New Yorker in the 1970s, her early chronicles of aimless youth, ambivalent love and fractured families have lost none of their wistful appeal or satirical bite. Neither has their author, as the eight new stories published here prove. To Beattie fans, her themes will be familiar. If the new work has a certain emphasis, it's surrogate parenthood. In the hilarious "Cosmos," a schoolteacher resists marriage to a man she met through a personals ad and takes guilty pleasure in exaggerating the foibles of his hyperactive, destructive little son for the amusement of her Japanese pupils. In the title story, a woman spends a week at an off-season Utah ski resort with her half-sister Janet "more or less looking after Janet's boyfriend's daughter, Lyric (fourteen), who is in turn looking after Janet's child, my niece, Nell (three)." The narrator's efforts to take care of the two girls?thrown temporarily together, like their self-centered parents, more by bad luck than design?are convincing, touching and (as always in Beattie's short fiction) funny. Re-reading the older work, one wishes that the 36-story collection were more comprehensive (one misses such gems as "Fancy Flights" or "Friends"), but this is a small complaint about a generous, very welcome volume of stories from one of the most influential masters of the form.
Copyright 1998 Reed Business Information, Inc.
From Library Journal
The title story of this new collection from Beattie (My Life, Starring Dara Falcon, LJ 5/15/97) includes exquisitely drawn, completely believable portraits of three women ranging in age from three to 14 to 31. It is as beautiful, fully realized a story as this reviewer has ever read. "Dwarf House" is another satisfying tale that brilliantly evokes the collective pain of a family's dealing with one of its members being a dwarf. It successfully follows the dwarf's stuggle from childhood to adulthood, and the ending is both welcome and persuasive. Not all the stories are as satisfying; some have indeterminant endings close with a significant-sounding sentence or phrase that the reader is left to ponder?or not. But the best of Beattie's stories should please any reader. For all fiction collections.
-?Judith Kicinski, Sarah Lawrence Coll. Lib., Bronxville, NY
Copyright 1998 Reed Business Information, Inc.
Most helpful customer reviews
12 of 13 people found the following review helpful.
well, here's the stories
By Robert Nagle
Out of frustration at not being able to find the stories in this collection, I am posting them here:
Cosmos 3
Second Question 38
Going Home with Uccello 51
The Siamese Twins Go Snorkeling 58
Zalla 75
Ed and Dave Visit the City 82
The Four-Night Fight 90
Park City 100
Vermont 137
Wolf Dreams 154
Dwarf House 166
Snakes' Shoes 175
Secrets and Surprises 185
Weekend 196
A Vintage Thunderbird 211
Shifting 226
The Lawn Party 238
Colorado 251
Learning to Fall 273
The Cinderella Waltz 283
Jacklighting 300
Waiting 306
Desire 316
Greenwich Time 325
The Burning House 335
Janus 351
In the White Night 356
Heaven on a Summer Night 361
Summer People 368
Skeletons 381
Where You'll Find Me 386
The Working Girl 403
In Amalfi 410
What Was Mine 421
Windy Day at the Reservoir 431
Imagine a Day at the End of Your Life 474
7 of 7 people found the following review helpful.
These stories are glittering gems.
By A Customer
This book was my first encounter with Beattie, and I must say that I was completely taken with her prose and the ease with which she provides us glimpses into her characters' lives. As a reader who revels in the chance to read writers who are technical masters of the short story form, Beattie did not disappoint. What I did find disappointing was that the stories became repetitive in theme and style so that powerful effect of the excellent ones ("Vermont, The Burning House, "Where You'll Find Me") was ultimately diluted by some of the other weaker stories. Finally, it is nice to read a female author who is unashamed to write about the human heart without an artifial device like southern charm or supposed female wackiness, both of which can sometimes be a distraction and detraction from a story
4 of 4 people found the following review helpful.
Kind of Blue
By Cort McMeel
When I think of Miles Davis, the word virtuoso comes to mind. When I think of Ann Beattie's short stories, the music from Miles' classic album "Kind of Blue" plays in my head. Spare, taut, controlled, yet so emotionally stripped down as to be poetic in the truest sense. This is fiction that rings like a tuning fork, humming inaubibly to the fragile souls that inhabit these works. Short stories like "Vermont", "Burning House", and "Where'll You Find Me" resonate with despair and, yet, at the same time tremble with a glimmer of hope. Bawdiness and loudness of voice, a brawling style, does not prevail in these quiet tales. But then again Ms. Beattie isn't trying to be Hemingway. She in her own way moved the short story beyong Hem and Cheever and even Carver, taking it to a realm where readers and writers are innured to listen.
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