There’s no guessing where a Beattie story will lead. And while one might intuit its catalyst––a “snake’s shoes,” a man who lost an arm, a vintage car, a wisteria pushing through a skylight, a crumbling stone wall around an old graveyard, a beautifully carved decoy––it feels as though Beattie herself is taken by surprise as each adroitly unsettling tale uncoils. Beattie made her mark as an audaciously understated yet resoundingly on-the-mark writer in the 1970s in the New Yorker, and it is testimony both to her unceasing artistic growth and the magazine’s unshakable commitment to exceptional short stories that the final works in this grand retrospective collection are as provocative as the first. Forty-eight Beattie stories appeared in the New Yorker between 1974 and 2006, and until now nearly half remained uncollected. This scintillating volume showcases Beattie’s stunning insights into the eternal isolation of individuals and each decade’s signature longings and conflicts. An incisive dramatist of family strife, marital discord, unconventional alliances, and the aftershocks of violence and death, Beattie portrays characters “numbed out,” wistful, or furious. Laced with ambivalence and irony and punctuated with unexpected reprieves, Beattie’s brilliantly structured stories are mordantly funny, haunting, and wise, making for a glorious collection. --Donna SeamanReview"As much as anyone in the past fifty years--you give me your Mavis Gallant, I'll give you my Frank O'Connor--Ann Beattie's slow-forming monument of a lifework defines what the short story can do, the extent of human life it can encompass."--Jonathan Lethem “It is a testament to [Beattie’s] unceasing artistic growth ... that the final works in this grand retrospective are as provocative as the first... This scintillating volume showcases Beattie’s stunning insights into the eternal isolation of individuals and each decade’s signature longing and conflicts. ... Laced with ambivalence and irony and punctuated with unexpected reprieves, Beattie’s brilliantly structured stories are mordantly funny, haunting, wise, making for a glorious collection.”—Donna Seaman, Booklist

Ann Beattie arrived in New York young, observant and celebrated (as The New Yorker's young fiction star) in one of the most compelling and creative eras of recent times. So does the protagonist of her intense new novella, Walks with Men. It is 1980 in New York City, and Jane, a valedictorian fresh out of Harvard, strikes a deal with Neil, an intoxicating writer twenty years her senior. The two quickly become lovers, living together in a Chelsea brownstone, and Neil reveals the rules for a life well lived: If you take food home from a restaurant, don't say it's because you want leftovers for "the dog." Say that you want the bones for "a friend who does autopsies." If you can't stand on your head (which is best), learn to do cartwheels. Have sex in airplane bathrooms. Wear only raincoats made in England. Neil's certainties, Jane discovers, mask his deceptions. Her true education begins. "One of our era's most vital masters of the short form" (The Washington...

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...

To her latest novel, Beattie brings the same documentary accuracy and Chekhovian wit and tenderness that have made her one of the most acclaimed portraitists of contemporary American life. Marshall Lockard, a professor at the local college, is contemplating adultery, unaware that his wife is already committing it.From the Trade Paperback edition.From Publishers WeeklySuccessfully avoiding the one-note, affectless deadpan to which her work was in danger of succumbing, Beattie provides plenty of dramatic tension in this absorbing narrative of a man emotionally distanced from his life. Marshall Lockard, youngish professor at a small New England college, is a peevish, condescending loner; his career is at a dead end and his marriage to Sonja is passionless. When he impulsively stops his car to pick up an attractive student, he has a vague idea of starting an affair with her. But the story Cheryl tells him?that her roommate says she's been abused and raped by Jack McCallum, a colleague of Marshall's in the English department?gradually enmeshes Marshall in McCallum's very messy life. Seeing echoes of his own personality in McCallum's passive sadness, Marshall begins slowly to acknowledge the complexities of his life, including the harmful effects of his father's bullying and his mother's early death. Meanwhile, the reader has been puzzling over a series of undated letters interspersed throughout the narrative; written to a woman called Martine (whose identity, when it is finally revealed on a tombstone, brings past and present together), they are penned by an obviously cold, arrogant, manipulative man who signs only his initial. Eventually, the letters hold a clue to Marshall's emotionally crippled personality. Though this novel has a few maladroit episodes (e.g., the true identity of Cheryl's roommate is gratuitously melodramatic), Beattie's writing has a new immediacy and intensity. The enduring effects of childhood trauma, which she explored in her previous novel, Picturing Will, are here conveyed with wit, irony and compassion. Copyright 1995 Reed Business Information, Inc. From Library JournalIn her latest novel since Picturing Will (LJ 1/90), Beattie again explores the anxieties of the American middle class. Using a deliberately understated narrative voice, she presents the confused world of college professor Marshall Lockheed and his wife, Sonja. As Marshall ponders whether to tell Sonja about his complicated infatuation with a student, Sonja ponders the pros and cons of revealing her brief affair with her boss. Meanwhile, repercussions from their rather unexceptional indiscretions are about to plunge both Lockheeds into some very unusual territory. In the background are Marshall's dying stepmother, a woman with secrets of her own, and a collection of mysterious letters from the past with significant links to the present. Beattie's detached prose captures characters and events photographically: precise images are put forth for the reader to ponder without authorial analysis or elaboration. At its best, this technique stimulates thought and imagination, but it will not appeal to all readers. Nevertheless, this is essential where Beattie's work is admired.-?Starr E. Smith, Marymount Univ., Arlington, Va.Copyright 1995 Reed Business Information, Inc.

An unsettling novel that traces the faltering orbits of the members of one family from a hidden love triangle to the ten-year-old son whose problem may pull everyone down.