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Narrated by Lorrie Moore
Lorrie MooreUnabridged — 5 hours, 20 minutes
Narrated by Lorrie Moore
Lorrie MooreUnabridged — 5 hours, 20 minutes
“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).
A literary event-a new collection of stories by one of America's most beloved and admired short story writers, her first collection in fifteen years.
In these eight masterful stories, Lorrie Moore, in a perfect blend of craft and bewitched spirit, explores the passage of time and summons up its inevitable sorrows and hilarious pitfalls to reveal her own exquisite, singular wisdom.
In “Debarking,” a newly divorced man tries to keep his wits about him as the United States prepares to invade Iraq, and against this ominous moment, we see-in all its irresistible hilarity and darkness-the perils of divorce and what can follow in its wake. In “Foes,” a political argument goes grotesquely awry as the events of 9/11 unexpectedly manifest at a fund-raising dinner in Georgetown. In “The Juniper Tree,” a teacher, visited by the ghost of her recently deceased friend, is forced to sing “The Star-Spangled Banner” in a kind of nightmare reunion. And in “Wings,” we watch the unraveling of two once-hopeful musicians who neither held fast to their dreams nor struck out along other paths as Moore deftly depicts the intricacies of dead ends and the workings of regret.
Gimlet-eyed social observation, the public and private absurdities of American life, dramatic irony, and enduring half-cracked love wend their way through each of these narratives in a heartrending mash-up of the tragic and the laugh-out-loud-the hallmark of Lorrie Moore-land.
The uncrowded format of Bark allows each story the chance it deserves for leisurely examination and appreciation, like the kind of museum retrospective you never get to see anymore. It's just enough: No admirer of Moore's will go away either overloaded or unsatisfied, and it lets us contemplate and savor just what makes her work unique.
A New York Times Notable Book
A Washington Post Notable Book
A Best Book of the Year: San Francisco Chronicle, NPR, Financial Times, St. Louis Post-Dispatch, BookPage
A Frank O’Connor International Short Story Prize Finalist
“Uncanny. . . . Moving. . . . A powerful collection.” —The Washington Post
“Moore’s one of the country’s most admired writers. . . . [Bark] shows off a true advance of Moore’s powers and offers some first-rate reading pleasure.” —NPR
“Heartbreaking. . . . Mordantly funny. . . . Takes us on a rare flight of self-transcendence. . . . Moments of recognition bring jolts like electric shocks.” —The New York Review of Books
“Wonderful. . . . Masterful. . . . Profound. . . . Not a single false note.” —USA Today
“[Moore] deftly paints with negative space, releasing tremendous poignancy. . . . A vibrant and nimble display of Moore’s signature wit.” —San Francisco Chronicle
“Ms Moore’s writing glides. She describes the mundane with precision and grace. . . . Bark simultaneously honours and regrets the messiness of human relationships. Ms Moore is like one of her characters: ‘sternness in one eye and gentleness in the other.’” —The Economist
“One of the finest short story writers in the country.” —Los Angeles Review of Books
“[Moore’s] writing contains multitudes, mixed in exacting proportions, which is to say: this potpourri is utterly and totally unique. . . . There really is no one quite like her.” —The New Republic
“Lorrie Moore still dazzles. . . . These powerfully, almost savagely, human stories shine with a spirit of playfulness and the logic of love.” —O, The Oprah Magazine
“[Bark is] a book to which people will refer back to understand life as we lived it in the past ten years.” —Salon
“Her stories, her stories, are perfect.” —Slate
“Here is why one reads Moore: the terse, true polish of her emotional wisdom.” —The Boston Globe
“Probably no writer since Nabokov has been as language-obsessed as Moore. . . . [Bark] lets us contemplate and savor just what makes her work unique.” —The New York Times Book Review (cover)
“Irresistible.” —Minneapolis Star Tribune
“100% brilliant, as usual. . . . Moore has come to enjoy the unusual distinction of being just about the darkest light writer around. Unhappiness, heartbreak, illness, grief, disappointment—who’d have thought they could be so much fun?” —Geoff Dyer, The Observer (London)
“Extraordinary. . . . Moore’s construction of a sentence, a paragraph, a page, is rarely less than exhilarating. . . . There is a moral nobility to Moore’s assertion that even the least brilliant of lives deserve to be brilliantly documented. . . . Moore does not make us feel better; she hurts us. But she hurts us in vital, generous ways, and it is testament to the brilliance of her writing that we let her.” —The Times Literary Supplement (London)
“If you adore Lorrie Moore, as so many of us do, you’ll find much to enjoy in her new collection. . . . All the sparkly balls are in play—puns, politics, pop culture details, sometimes all at once.” —Newsday
“If you had to criticize one thing about Lorrie Moore—and I don’t know why you would, because she’s awesome—it might be that her humor and her world-weary sense of the absurd are almost too distinctive. . . . But I don’t have the heart to really complain about any of this: I’ve been addicted to Moore’s voice for a long time now and want more, not less, of it.” —Entertainment Weekly
“Laugh-out-loud funny. . . . Reading the stories one after another is a reminder of her uncanny ability to sum up, in a sentence or two, the truths that might take a lifetime to grasp.” —Houston Chronicle
“Lorrie Moore’s writing is strange and wonderful. It should be among anyone’s top reasons for being alive.” —PopMatters
“A vital work of literature.” —Electric Literature
Lorrie Moore’s stellar collection of short stories, her first in 16 years, is not a sunny book, and her deeply ironic delivery, almost deadpan at times, announces that from the get-go. This self-read audiobook is the perfect vehicle for her mordant wit, which might be described to newcomers as David Letterman squared. But Moore’s dark, divorce-filled world, populated by “graying human flotsam with scorched internal landscapes mimicking the young,” will wow her devotees but will not appeal to all listeners. Her intended audience is the world-weary: "'Marriage is one long conversation' wrote Robert Louis Stevenson. Of course, he died when he was 44, so he had no idea how long the conversation could really get to be.” A.B.S. © AudioFile 2014, Portland, Maine
| BN ID: | 2940169898040 |
|---|---|
| Publisher: | Blackstone Audio, Inc. |
| Publication date: | 02/25/2014 |
| Edition description: | Unabridged |
From "Thank You for Having Me"
The day following Michael Jackson’s death, I was constructing my own memorial for him. I played his videos on YouTube and sat in the kitchen at night, with the iPod light at the table’s center the only source of illumination. I listened to “Man in the Mirror” and “Ben,” my favorite, even if it was about a killer rat. I tried not to think about its being about a rat, as it was also the name of an old beau, who had e-mailed me from Istanbul upon hearing of Jackson’s death. Apparently there was no one in Turkey to talk about it with. “When I heard the news of MJackson’s death I thought of you,” the ex-beau had written, “and that sweet, loose-limbed dance you used to do to one of his up-tempo numbers.”
I tried to think positively. “Well, at least Whitney Houston didn’t die,” I said to someone on the phone. Every minute that ticked by in life contained very little information, until suddenly it contained too much.
“Mom, what are you doing?” asked my fifteen-year-old daughter, Nickie. “You look like a crazy lady sitting in the kitchen like this.”
“I’m just listening to some music.”
“But like this?”
“I didn’t want to disturb you.”
“You are so totally disturbing me,” she said.
Nickie had lately announced a desire to have her own reality show so that the world could see what she had to put up with.
I pulled out the earbuds. “What are you wearing tomorrow?”
“Whatever. I mean, does it matter?”
“Uh, no. Not really.” Nickie sauntered out of the room. Of course it did not matter what young people wore: they were already amazing looking, without really knowing it, which was also part of their beauty. I was going to be Nickie’s date at the wedding of Maria, her former babysitter, and Nickie was going to be mine. The person who needed to be careful what she wore was me.
It was a wedding in the country, a half-hour drive, and we arrived on time, but somehow we seemed the last ones there. Guests milled about semipurposefully. Maria, an attractive, restless Brazilian, was marrying a local farm boy, for the second time—a second farm boy on a second farm. The previous farm boy she had married, Ian, was present as well. He had been hired to play music, and as the guests floated by with their plastic cups of wine, Ian sat there playing a slow melancholic version of “I Want You Back.” Except he didn’t seem to want her back. He was smiling and nodding at everyone and seemed happy to be part of this send-off. He was the entertainment. He wore a T-shirt that read, thank you for having me. This seemed remarkably sanguine and useful as well as a little beautiful. I wondered how it was done. I myself had never done anything remotely similar. “Marriage is one long conversation,” wrote Robert Louis Stevenson. Of course, he died when he was forty-four, so he had no idea how long the conversation could really get to be.
“I can’t believe you wore that,” Nickie whispered to me in her mauve eyelet sundress.
“I know. It probably was a mistake.” I was wearing a synthetic leopard-print sheath: I admired camouflage. A leopard’s markings I’d imagined existed because a leopard’s habitat had once been alive with snakes, and blending in was required. Leopards were frightened of snakes and also of chimpanzees, who were in turn frightened of leopards—a standoff between predator and prey, since there was a confusion as to which was which: this was also a theme in the wilds of my closet. Perhaps I had watched too many nature documentaries.
“Maybe you could get Ian some lemonade,” I said to Nickie. I had already grabbed some wine from a passing black plastic tray.
“Yes, maybe I could,” she said and loped across the yard. I watched her broad tan back and her confident gait. She was a gorgeous giantess. I was in awe to have such a daughter. Also in fear—as in fearful for my life.
“It’s good you and Maria have stayed friends,” I said to Ian. Ian’s father, who had one of those embarrassing father-in-law crushes on his son’s departing wife, was not taking it so well. One could see him misty-eyed, treading the edge of the property with some iced gin, keeping his eye out for Maria, waiting for her to come out of the house, waiting for an opening, when she might be free of others, so he could rush up and embrace her.
“Yes.” Ian smiled. Ian sighed. And for a fleeting moment everything felt completely fucked up.
Kathryn Williams: I’m pretty sure I can already see where this debate is going, so I will try to head it off at the pass. For your case against, you will argue the sacred inviolability of books as exalted vessels of wisdom, truth, and beauty, that writing in them is to mar them, to debase them, […]
Lorrie Moore (Bark) and Lydia Davis (Can’t and Won’t) are two masters of the short story whose new collections hit shelves this spring. But if you think of short stories as homework, as slow-moving, language-driven meditations in which nothing ever happens, you’re probably not alone. A recent article in the Millions suggests that our culture’s […]
