Since the publication of Self-Help, her first collection of stories, Lorrie Moore has been hailed as one of the greatest and most influential voices in American fiction. Her ferociously funny, soulful stories tell of the gulf between men and women, the loneliness of the broken-hearted and the yearned-for, impossible intimacies we crave. Gathered here for the first time in a beautiful hardback edition is the complete stories along with three new and previously unpublished in book form: Paper Losses, The Juniper Tree, Debarking.
A complete collection of short works offers insight into the progression of the writer's work throughout a thirty-year period and features, among other tales, the complete texts of At the Gates of the Animal Kingdom, Tumble Home, and The Dog of the Marriage. Reprint. 25,000 first printing.
Complicated, awkward, funny, cruel, heartbroken, mysterious; Self-Help forms an idiosyncratic guide to female existence which is just as relevant today as it was 30 years ago. These stories are modern America at its most real, with characters sharing thoughts and experiences they could have borrowed from our own lives. This is how to deal with divorce, adultery, cancer, how to talk to your mother or become a writer, the Lorrie Moore way.
The recipient of the 1998 O Henry Award and the 2004 Rea Award for the Short Story, Lorrie Moore is best known for her short fiction. This book shows that Moore's virtuosic prose, wry humor, and sense of irony are tools for registering how Americans face the discomfort of their daily lives as individuals and as a nation.
A welcome surprise: more than fifty prose pieces, gathered together for the first time, by one of America's most revered and admired novelists and short-story writers, whose articles, essays, and cultural commentary--appearing in The New York Review of Books, The New York Times Book Review, The New Yorker, The Atlantic, The Guardian, Harper's Magazine, and elsewhere--have been parsing the political, artistic, and media idiom for the last three decades. From Lorrie Moore's earliest reviews of novels by Margaret Atwood and Nora Ephron, to an essay on Ezra Edelman's 2016 O.J. Simpson documentary, and in between: Moore on the writing of fiction (the work of V. S. Pritchett, Don DeLillo, Philip Roth, Joyce Carol Oates, Alice Munro, Stanley Elkin, Dawn Powell, Nicholson Baker, et al.) . . . on the continuing unequal state of race in America . . . on the shock of the shocking GOP . . . on the dangers (and cruel truths) of celebrity marriages and love affairs . . . on the wilds of television (The Wire, Friday Night Lights, Into the Abyss, Girls, Homeland, True Detective, Making a Murderer) . . . on the (d)evolving environment . . . on terrorism, the historical imagination, and the world's newest form of novelist . . . on the lesser (and larger) lives of biography and the midwifery between art and life (Anaïs Nin, Marilyn Monroe, John Cheever, Edna St. Vincent Millay, Eudora Welty, Bernard Malamud, among others) . . . and on the high art of being Helen Gurley Brown . . . and much, much more. "Fifty years from now, it may well turn out that the work of very few American writers has as much to say about what it means to be alive in our time as that of Lorrie Moore" (Harper's Magazine).
A unique and fascinating memoir traces the history of a famed Salt Lake City bookstore as it survives attempts at censorship, the onslaught of chain superstores, and more, including dozens of "Top 25" reading lists on a wide variety of topics.
This book focuses specifically on short fiction written since 1950, a particularly rich and diverse period in the history of the form. A selective approach has been taken, focusing on the best and most representative work.
The Best American Short Stories is the longest running and best-selling series of short fiction in the country. For the centennial celebration of this beloved annual series, master of the form Lorrie Moore selects forty stories from the more than two thousand that were published in previous editions. Series editor Heidi Pitlor recounts behind-the-scenes anecdotes and examines, decade by decade, the trends captured over a hundred years. Together, the stories and commentary offer an extraordinary guided tour through a century of literature with what Moore calls “all its wildnesses of character and voice.” These forty stories represent their eras but also stand the test of time. Here is Ernest Hemingway’s first published story and a classic by William Faulkner, who admitted in his biographical note that he began to write “as an aid to love-making.” Nancy Hale’s story describes far-reaching echoes of the Holocaust; Tillie Olsen’s story expresses the desperation of a single mother; James Baldwin depicts the bonds of brotherhood and music. Here is Raymond Carver’s “minimalism,” a term he disliked, and Grace Paley’s “secular Yiddishkeit.” Here are the varied styles of Donald Barthelme, Charles Baxter, and Jamaica Kincaid. From Junot Díaz to Mary Gaitskill, from ZZ Packer to Sherman Alexie, these writers and stories explore the different things it means to be American. Moore writes that the process of assembling these stories allowed her to look “thrillingly not just at literary history but at actual history — the cries and chatterings, silences and descriptions of a nation in flux.” 100 Years of The Best American Short Stories is an invaluable testament, a retrospective of our country’s ever-changing but continually compelling literary artistry. LORRIE MOORE, after many years as a professor of creative writing at the University of Wisconsin–Madison, is now the Gertrude Conaway Vanderbilt Professor of English at Vanderbilt University. Moore has received honors for her work, among them the Irish Times International Fiction Prize and a Lannan Foundation fellowship, as well as the PEN/Malamud Award and the Rea Award for her achievement in the short story. Her most recent novel, A Gate at the Stairs, was short-listed for the 2010 Orange Prize for Fiction and for the PEN/Faulkner Award, and her most recent story collection, Bark, was short-listed for the Story Prize and the Frank O’Connor Award. HEIDI PITLOR is a former senior editor at Houghton Mifflin Harcourt and has been the series editor of The Best American Short Stories since 2007. She is the author of the novels The Birthdays and The Daylight Marriage.
“The ultimate literary bucket list.” —THE WASHINGTON POST Celebrate the pleasure of reading and the thrill of discovering new titles in an extraordinary book that’s as compulsively readable, entertaining, surprising, and enlightening as the 1,000-plus titles it recommends. Covering fiction, poetry, science and science fiction, memoir, travel writing, biography, children’s books, history, and more, 1,000 Books to Read Before You Die ranges across cultures and through time to offer an eclectic collection of works that each deserve to come with the recommendation, You have to read this. But it’s not a proscriptive list of the “great works”—rather, it’s a celebration of the glorious mosaic that is our literary heritage. Flip it open to any page and be transfixed by a fresh take on a very favorite book. Or come across a title you always meant to read and never got around to. Or, like browsing in the best kind of bookshop, stumble on a completely unknown author and work, and feel that tingle of discovery. There are classics, of course, and unexpected treasures, too. Lists to help pick and choose, like Offbeat Escapes, or A Long Climb, but What a View. And its alphabetical arrangement by author assures that surprises await on almost every turn of the page, with Cormac McCarthy and The Road next to Robert McCloskey and Make Way for Ducklings, Alice Walker next to Izaac Walton. There are nuts and bolts, too—best editions to read, other books by the author, “if you like this, you’ll like that” recommendations , and an interesting endnote of adaptations where appropriate. Add it all up, and in fact there are more than six thousand titles by nearly four thousand authors mentioned—a life-changing list for a lifetime of reading. “948 pages later, you still want more!” —THE WASHINGTON POST
Written in the shadow of the approaching millennium, American literature in the 1990s was beset by bleak announcements of the end of books, the end of postmodernism, and even the end of literature. Yet, as conservative critics marked the century's twilight hours by launching elegies for the conventional canon, American writers proved the continuing vitality of their literature by reinvigorating inherited forms, by adopting and adapting emerging technologies to narrative ends, and by finding new voices that had remained outside that canon for too long. By reading 1990s literature in a sequence of shifting contexts - from independent presses to the AIDS crisis, and from angelology to virtual reality - American Literature in Transition, 1990–2000 provides the fullest map yet of the changing shape of a rich and diverse decade's literary production. It offers new perspectives on the period's well-known landmarks, Toni Morrison, Thomas Pynchon, David Foster Wallace, but also overdue recognition to writers such as Ana Castillo, Evan Dara, Steve Erickson, and Carole Maso.
Forty years ago the one thing that could be said about sermons was they were biblical. Unfortunately, they were sometimes tedious too. Narrative preaching aimed to fix that, advocating for a dynamic experience of the text over against a static lecture. Preaching could be like the parables of Jesus, intriguing and compelling. The Story of Narrative Preaching is the story of seven students who are enrolled in Professor Freeman's preaching course. Once a new trend, narrative preaching is now older than most of them. As Professor Freeman notes, two things went wrong with narrative styles: over time the church became biblically and theologically illiterate, and the promised stress on experience didn't always measure up to the weight of the gospel. Readers are invited to sit in on the class, to reflect on the expositional nature of preaching and to experience the stories of some modern storytellers--Flannery O'Connor, Alice Walker, and others--to see what they might teach us about narratives of depth. In the end we discover what may be the most important word in preaching.
Winner of the Hemingway Foundation / PEN Award, this debut novel is "as funny as The Office, as sad as an abandoned stapler . . . that rare comedy that feels blisteringly urgent." (TIME) No one knows us in quite the same way as the men and women who sit beside us in department meetings and crowd the office refrigerator with their labeled yogurts. Every office is a family of sorts, and the Chicago ad agency depicted in Joshua Ferris's exuberantly acclaimed first novel is family at its best and worst, coping with a business downturn in the time-honored way: through gossip, elaborate pranks, and increasingly frequent coffee breaks. With a demon's eye for the details that make life worth noticing, Joshua Ferris tells an emotionally true and funny story about survival in life's strangest environment—the one we pretend is normal five days a week. One of the Best Books of the Year Boston Globe * Christian Science Monitor * New York Magazine * New York Times Book Review * St. Louis Post-Dispatch * Time magazine * Salon
The last 50 years have proved a particularly lively period in the history of the short story form. This new collection gives a full picture of the richness and diversity of this most American of genres from its very beginnings to the present day. The collection offers a freshly stimulating combination of old favourites such as Mark Twain's 'Jim Smiley's Jumping Frog' and Edgar Allan Poe's 'The Tell-Tale Heart', unfamiliar works by well-known authors, such as Ernest Hemingway's 'Out of Season', Stephen Crane's 'An Episode of War' and F. Scott Fitzgerald's 'The Lost Decade' , and some remarkable stories by wonderful but less well known writers such as Mary Wilkins Freeman and Charles W. Chestnutt who deserve a wider audience. It's a compact book but it covers a lot of ground. There are 31 stories, covering 199 years (that is, the first story was published in 1807; the last is from 2006). The final three authors are Lorrie Moore, Jhumpa Lahiri and Lydia Davis. Table of contents Washington Irving - The Little Man in Black (1807) Nathaniel Hawthorne - Young Goodman Brown (1835) Edgar Allan Poe - The Tell-Tale Heart (1843) Fanny Fern - Aunt Hetty on Matrimony (1851) Mark Twain - Jim Smiley and His Jumping Frog (1865) Joel Chandler Harris - The Tar Baby Story (1880) Mary Wilkins Freeman - Two Friends (1887) Charles W. Chesnutt - The Wife of his Youth (1898) Henry James - The Real Right Thing (1899) Stephen Crane - An Episode of War (1899) O. Henry - Hearts and Hands (1903) Sherwood Anderson - The Untold Lie (1917) Ernest HemingwayOut of Season (1923) Edith Wharton - Atrophy (1927) Dorothy Parker - New York to Detroit (1928) Eudora Welty - The Whistle (1938) William Faulkner - Barn Burning (1939) F. Scott Fitzgerald - The Lost Decade (1939) Zora Neale Hurston - Now You Cookin' with Gas (1942) Bernard Malamud - The First Seven Years (1950) Flannery O'Connor - A Late Encounter with the Enemy (1953) John Updike - Sunday Teasing (1956) John Cheever - Reunion (1962) Grace Paley - Wants (1971) Alice Walker - The Flowers (1973) Donald Barthelme - I Bought a Little City (1974) Raymond Carver - Collectors (1975) Richard Ford - Communist (1985) Lorrie Moore - Starving Again (1990) Jhumpa Lahiri - The Third and Final Continent (1999) Lydia Davis - The Caterpillar (2006)
With a new 1999 story added to the paperback volume, this collection of the best stories of the century includes some of the greatest names in literature as well as a few spectacular one-hit wonders. Reprint.
The American Short Story since 1950 offers a reappraisal and contextualisation of a critically underrated genre during a particularly rich period in its history. It offers new readings of important stories by key writers including Flannery O'Connor, John Cheever, Donald Barthelme, Raymond Carver, Lorrie Moore and Grace Paley. These readings are related throughout to the various contexts in which stories are written and published, including creative writing schools, story-writing handbooks, mass market and 'little' magazines.