I’ve been a fan of Moore’s stories for a long, long time, largely on the strength of this passage:
“The thing to remember about love affairs,” says Simone, “is that they are all like having raccoons in your chimney.”
“We have raccoons sometimes in our chimney,” explains Simone.
“And once we tried to smoke them out. We lit a fire, knowing they were there, but we hoped the smoke would cause them to scurry out the top and never come back. Instead, they caught on fire and came crashing down into our living room, all charred and in flames and running madly around until they dropped dead.” Simone swallows some wine. “Love affairs are like that,” she says. “They are all like that.” (“Dance in America”, from Birds of America)
Right? RIGHT? Moore’s writing has been heretofore dominated with a turn of phrase we might call Lorrian, and which I eat up with a spoon given half a chance. So it’s with disappointment that I report that her latest, Bark, is almost free of them. Only a few times did I feel I was really in the groove of the sort of writing that typified Who Will Run The Frog Hospital, for example. It’s still better than most, but not as solid as I was hoping.
Or, maybe she’s just doing something different, and I don’t care as much for the new thing; I suppose that’s possible. And she is not, of course, obliged to keep writing in the mode she did 20 years ago. (It’s fair to note that this is her first book of stories in 16 years, and that some of them I’d seen before in The New Yorker.)
The quips aren’t completely gone, though, so there’s some comfort in that:
- “Every family is a family of alligators.”
- “[Kentucky] is like Ireland, but with more horses and guns.”
and my favorite, which is this bit of dialog:
“You’re from what part of Chicago?”
“Well, just outside Chicago.”
My gripes about a lack of Lorrian turns of phrase notwithstanding, it’s still better work than most story writers. Moore’s world is one of disconnection and desperation that’s gone to flippancy (which is where the quips come from), and she still paints these pictures vividly, even when she drags the material too far into current events (Abu Ghraib is referenced, e.g.).
The sixth story, “Referential” sent me scribbling notes more than most; it reminded me of Richard Yates’ “No Pain Whatsoever”, a heartbreaking story about an estranged, cheating wife visiting her doomed husband in a TB ward while her lover waits in the car. Yates, though, didn’t play with language like Moore (or like Nabokov, who’s referenced in the story’s postscript).
From the NYT review:
Probably no writer since Nabokov has been as language-obsessed as Moore, but while Nabokov saw himself as an enchanter, a Prospero of words reveling in his power, Moore is a darker spirit, skeptical of language even as she makes it do tricks. “Mutilation was a language,” one character reflects when she sees her son’s cutting scars. “And vice versa.” She’s the most Beckettian of Nabokovians. Her characters banter and wisecrack their way through their largely mirthless lives in screwball-comedy style, but for them it’s a compulsive tic whose aim is sometimes self-protection (utterance that warns others off and forms a protective shell) and sometimes just to fill the void; the point is its pointlessness. “She had given up trying to determine his facetiousness level,” KC says of Dench, her relentlessly witty boyfriend. “She suspected it was all just habit and his true intent was unknown even to himself.” KC and Dench are the sort of people who note that a dried-out spider plant looks like “Bob Marley on chemo,” and that uterine cancer is “the silent killer. Especially in men.”
The eighth and final story, “Thank You for Having Me,” contains a final and bleak example of Moore’s characters’ not-quite-whistling past the graveyard — in this case, as with many, the source of ennui is advancing middle age: “Without weddings, there were only funerals. I had seen a soccer mom become a rhododendron with a plaque.”
Anyway, if you’re a fan of Moore, you’ll read it. If you’re interested in Moore, though, this probably isn’t the place to start.