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The first collection of stories in well over a decade by a writer Ann Beattie has called “one of our most remarkable storytellers,” and whom Bret Easton Ellis has named “the rightful heir to the mastery, genius, and poetry of Flannery O’Connor.”
These twelve stories further Joy Williams’s utterly singular achievement, described by the Washington Post as “poetic, disturbing, yet very funny . . . the brilliantly controlled style informed by a powerful spiritual vision,” and again reveal her ability to uncover, as Michiko Kakutani wrote in the New York Times, “the somber verities lurking beneath the flash and clamor of daily life.”
Her landscapes reach from Maine and Nantucket to the Southwest and into Mexico and Guatemala, while the events cover a range of human travail, from children confronting the death of a parent to parents instead burying their own young, and the various ways–comic, tragic, unnerving–we seek to accommodate diminishment and loss. And all of her characters are richly, idiosyncratically alive, in circumstances at once supremely peculiar and strangely like our own.
"To live was like being an honored guest," muses a teenage girl whose mother is dying. While death, loss and the likelihood of losing touch with reality are the focus of these 12 short stories by Williams, the elusive possibility of hope and mental well-being waits in the shadows, maybe even just within reach. Williams's deliciously fallible characters are often unfazed by their erratic behavior and violent eruptions. At work one day, a widowed masseuse in "Hammer" snaps her prosperous client's wrist bone without provocation. In "Charity," Richard refuses to stop for a needy family despite Janice's pleas. When he gets out of the car for gas, "Janice moved across the seat quickly, grasped the wheel and drove off," returning to the family and perhaps losing Richard forever. Williams's grasp of the slippery line between life and death is strong: she jars the reader with news of a debilitating accident or a fatality without a breath of forewarning. Her characters speak like poets or philosophers ("Words at night were feral things"), and her prose is imaginative and dynamic (a woman obsessed with visiting a mental institution prowls the halls, pretending "she was a virus, wandering without aim through someone's body"). Though some of her more absurd tales may perplex, discriminating readers will be greatly satisfied with this rich, darkly humorous and provocative collection. (Oct. 8) Forecast: Often compared to Flannery O'Connor, Williams is a master of the short story. This is her first collection in more than a decade, and it follows on the heels of her Pulitzer-nominated novel The Quick and the Dead; it should be widely and enthusiastically reviewed. Seven-city author tour. Copyright 2004 Reed Business Information.
More Reviews and RecommendationsThe first collection of stories in well over a decade by a writer Ann Beattie has called "one of our most remarkable storytellers," and whom Bret Easton Ellis has named "the rightful heir to the mastery, genius, and poetry of Flannery O'Connor."
These twelve stories further Joy Williams's utterly singular achievement, described by the Washington Post as "poetic, disturbing, yet very funny . . . the brilliantly controlled style informed by a powerful spiritual vision," and again reveal her ability to uncover, as Michiko Kakutani wrote in the New York Times, "the somber verities lurking beneath the flash and clamor of daily life."
Her landscapes reach from Maine and Nantucket to the Southwest and into Mexico and Guatemala, while the events cover a range of human travail, from children confronting the death of a parent to parents instead burying their own young, and the various ways-comic, tragic, unnerving-we seek to accommodate diminishment and loss. And all of her characters are richly, idiosyncratically alive, in circumstances at once supremely peculiar and strangely like our own.
"To live was like being an honored guest," muses a teenage girl whose mother is dying. While death, loss and the likelihood of losing touch with reality are the focus of these 12 short stories by Williams, the elusive possibility of hope and mental well-being waits in the shadows, maybe even just within reach. Williams's deliciously fallible characters are often unfazed by their erratic behavior and violent eruptions. At work one day, a widowed masseuse in "Hammer" snaps her prosperous client's wrist bone without provocation. In "Charity," Richard refuses to stop for a needy family despite Janice's pleas. When he gets out of the car for gas, "Janice moved across the seat quickly, grasped the wheel and drove off," returning to the family and perhaps losing Richard forever. Williams's grasp of the slippery line between life and death is strong: she jars the reader with news of a debilitating accident or a fatality without a breath of forewarning. Her characters speak like poets or philosophers ("Words at night were feral things"), and her prose is imaginative and dynamic (a woman obsessed with visiting a mental institution prowls the halls, pretending "she was a virus, wandering without aim through someone's body"). Though some of her more absurd tales may perplex, discriminating readers will be greatly satisfied with this rich, darkly humorous and provocative collection. (Oct. 8) Forecast: Often compared to Flannery O'Connor, Williams is a master of the short story. This is her first collection in more than a decade, and it follows on the heels of her Pulitzer-nominated novel The Quick and the Dead; it should be widely and enthusiastically reviewed. Seven-city author tour. Copyright 2004 Reed Business Information.
Dipping into Williams's latest short story collection is like driving by a bad freeway wreck it's a given that people are wounded; the question is, How badly? In the title story, the mother of teenaged Helen is dying at home. Contrary to the oft-used device of the saintly patient who gently fades away while strewing pithy advice, Helen's mother is demanding and frequently cruel to her earnest daughter. Things get odder still in "Congress": Jack, Miriam's live-in lover, a revered professor of forensic anthropology, pierces his own head with an arrow, thus suffering profound brain damage, and Miriam passively steps aside to let one of Jack's students, the creepily devoted Carl, take over the care and feeding of Jack. Williams's power comes from shocks slipped between the paragraphs with the delayed-pain response akin to being cut with an exquisitely sharp knife. As with many short stories, joy is a noticeably absent. Read in small doses, this work can lead to an appreciation of Williams's considerable gifts, but reading it in a single sitting may compel one to seek relief under the nearest blanket. For larger libraries. [See Prepub Alert, LJ 6/1/04.] Beth E. Andersen, Ann Arbor Dist. Lib., MI Copyright 2004 Reed Business Information.
Stories impeccably careful never to raise their voices, though not much is raised in the reader by them, either: a third collection from the novelist and storywriter (Escapes, 1989, etc.). Cool-toned, expertly kept at a near-toneless pitch, Williams's pieces have much about them of Raymond Carver, though not his brevity: too often the tales read long. Their characters seem driven in equal parts by meanness, confusion, and craziness, and few of them will charm-though Donna is certainly nicer than the bitchy friend she dutifully, and inexplicably, visits in the mental hospital ("The Visiting Privilege"), and the 11th-grade daughter in "Honored Guest" is far nicer than her monstrous mother, who admittedly is dying, but still. A mother whose son killed himself-he thought he had spikes in his head-gains a bit of sympathy when she repudiates the boy's druggy and self-involved friends ("Marabou"), but no character has much affect in another death story ("Substance"), where a suicide leaves mundane belongings to various friends, including leaving his dog to one (the others ditch the stuff; the dog person feels she can't). Tired tropes are revisited as affluent Americans are shown to know less than the Caribbean locals ("Claro") or as spoiled American kids play at the ex-pat life in Guatemala, supported by their parents ("Fortune"). The ghost of Flannery O'Connor inspirits a tale or two: "Charity," about an unhappily married and socially conscious woman who is drawn into progressively deeper trouble with a trashy family; and "The Other Week," an intricate construction about an ex-alcoholic teetering toward an affair with her mentally questionable gardener. After her husband dies, a diabetic womantakes pistol lessons for a while and befriends her instructor ("Anodyne"); another widow, after an evening with her truly mean daughter ("Hammer"), falls off the wagon and dies five years later, at 50, amid a sprinkling of symbols. Twelve ambitious and expert stories, yet seldom involving.
| Honored guest | 3 | |
| Congress | 23 | |
| Marabou | 47 | |
| The visiting privilege | 54 | |
| Substance | 69 | |
| Anodyne | 85 | |
| The other week | 97 | |
| Claro | 117 | |
| Charity | 134 | |
| ACK | 151 | |
| Hammer | 165 | |
| Fortune | 187 |
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