Leonard Michaels was a master of the short story. His collections are among the most admired, influential, and exciting of the last half century. The Collected Stories brings them back into print, from the astonishing debut Going Places (1969) to the uncollected last stories, unavailable since they appeared in The New Yorker, Threepenny Review, and Partisan Review.
At every stage in his career, Michaels produced taut, spare tales of sex, love, and other adult intimacies: gossip, argument, friendship, guilt, rage. A fearless writer—"destructive, joyful, brilliant, purely creative," in the words of John Hawkes—Michaels probed his characters' motivations with brutal humor and startling frankness; his ear for the vernacular puts him in the company of Philip Roth, Grace Paley, and Bernard Malamud. Remarkable for its compression and cadences, his prose is nothing short of addictive.
The Collected Stories is a landmark.
"Leonard Michaels's stories stand alongside those of his best Jewish contemporaries -- Grace Paley and Philip Roth." -- Mona Simpson, The New York Times Book Review
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Leonard Michaels (1933–2003) was the author of Going Places, I Would Have Saved Them If I Could, and The Men's Club, among other books.
manikin
AT THE UNIVERSITY SHE MET A TURK who studied physics and spoke foreigner’s English which in every turn expressed the unnatural desire to seize idiom and make it speak just for himself. He worked nights as a waiter, summers on construction gangs, and shot pool and played bridge with fraternity boys in order to make small change, and did whatever else he could to protect and supplement his university scholarship, living a mile from campus in a room without sink or closet or decent heating and stealing most of the food he ate, and when the University Hotel was robbed it was the Turk who had done it, an act of such speed the night porter couldn’t say when it happened or who rushed in from the street to bludgeon him so murderously he took it in a personal way. On weekends the Turk tutored mediocrities in mathematics and French . . .
He picked her up at her dormitory, took her to a movie, and later, in his borrowed Chevrolet, drove her into the countryside and with heavy, crocodilean sentences communicated his agony amid the alien corn. She attended with quick, encouraging little nods and stared as if each word crept past her eyes and she felt power gathering in their difficult motion as he leaned toward her and with lips still laboring words made indelible sense, raping her, forcing her to variations of what she never heard of though she was a great reader of avant-garde novels and philosophical commentaries on the modern predicament . . .
In the cracking, desiccated leather of the Chevrolet she was susceptible to a distinction between life and sensibility, and dropped, like Leda by the swan, squirming, arching, so as not to be touched again, inadvertently, as he poked behind the cushions for the ignition key. She discovered it pulling up her pants and, because it required intelligent speech inconsistent with her moaning, couldn’t bring it to his attention; nor would she squat, winding about in her privates, though she hated to see him waste time bunched up twisting wires under the dashboard.
Despite her wild compulsion to talk and despite the frightened, ravenous curiosity of her dormitory clique, whom she awakened by sobbing over their beds, Melanie wasn’t able to say clearly what finished happening half an hour ago. She remembered the Turk suddenly abandoned English and raved at her in furious Turkish, and she told them about that and about the obscene tattoo flashing on his chest when she ripped his shirt open, and that he stopped the car on a country road and there was a tall hedge, maples, sycamores, and a railroad track nearby, and a train was passing, passing, and passing, and beyond it, her moans, and later an animal trotting quickly on the gravel, and then, with no discontinuity, the motor starting its cough and retch and a cigarette waving at her mouth already lighted as if the worst were over and someone had started thinking of her in another way.
The lights of the university town appeared and she smoked the cigarette as the car went down among them through empty streets, through the residential area of the ethical, economic community and twisted into the main street passing store after store. She saw an armless, naked manikin and felt like that, or like a thalidomide baby, all torso and short-circuited, and then they were into the streets around campus, narrow and shaky with trees, and neither of them said a word as he shifted gears, speeding and slowing and working the car through a passage irregular and yet steady, and enclosed within a greater passage as tangible as the internal arcs of their skulls. At the dormitory he stopped the car. She got out running.
Quigley, Berkowitz, and Sax could tell that Melanie Green had been assaulted with insane and exotic cruelty: there were fingerprints on her cheeks the color of tea stains and her stockings hung about her ankles like Hamlet’s when he exposed himself to Ophelia and called her a whore. So they sucked cigarettes and urged her to phone the Dean of Women, the police, and the immigration authorities, as if disseminating the story among representatives of order would qualify it toward annihilation or render it accessible to a punitive response consistent with national foreign policy. Though none of them saw positive value in Melanie’s experience it was true, nevertheless, in no future conversation would she complain about being nineteen and not yet discovered by the right man, as it happened, to rape with. Given her face and legs, that had always seemed sick, irritating crap, and in the pits of their minds, where there were neither words nor ideas but only raging morality, they took the Turk as poetic justice, fatal male, and measure for measure. Especially since he lived now in those pits vis-à-vis Melanie’s father, a bearded rabbi with tear bags. "What if your father knew?" asked Quigley, making a gesture of anxious speculation, slender hands turned out flat, palms up, like a Balinese dancer. Melanie felt annoyed, but at least Quigley was there, sticking out her hands, and could be relied on always to be symbolic of whatever she imagined the situation required.
She didn’t tell the rabbi, the Dean of Women, police, or immigration authorities, and didn’t tell Harry Stone, her fiancé, with whom she had never had all-the-way sexual intercourse because he feared it might destroy the rhythm of his graduate work in Classics. But once, during Christmas vacation, she flew East to visit him, and while standing on a stairway in Cambridge, after dinner and cognac, he let her masturbate him and then lay in bed beside her, brooding, saying little except "I feel like Seymour," and she answering, "I’m sorry." Quigley, Berkowitz, and Sax called him "Harry the fairy," but never in the presence of Melanie, who read them his letters, brilliantly exquisite and full of ruthless wit directed at everything, and the girls screamed and could hardly wait till he got his degree and laid her. "It’ll be made of porcelain," said Sax, and Melanie couldn’t refute the proposition (though the girls always told her everything they did with their boyfriends and she owed them the masturbation story) because they were too hot for physiology and wouldn’t listen to the whole story, wouldn’t hear its tone or any of its music. They were critical, sophisticated girls and didn’t dig mood, didn’t savor things. They were too fast, too eager to get the point.
She didn’t tell the rabbi or any other authority about the rape, and wouldn’t dream of telling Harry Stone because he tended to become irrationally jealous and like homosexual Othello would assume she had gone out with armies of men aside from the Turk,which wasn’t true. The Turk had been a casual decision, the only one of its kind, determined by boredom with classes and dateless weekends, and partly by a long-distance phone call to Harry Stone in the middle of the night when she needed his voice and he expressed irritation at having been disturbed while translating a difficult passage of Thucydides for a footnote in his dissertation. Furthermore the Turk was interesting-looking, black eyes, a perfect white bite of teeth between a biggish nose and a cleft chin, and because he was pathetic in his tortuous English going out with him seemed merely an act of charity indifferently performed and it was confirmed as such when he arrived in the old Chevrolet and suggested a cowboy movie. He held the door open for her, which she could never expect Harry to do, and he tried to talk to her. To her, she felt—though it was clear that his effort to talk depended very much on her effort to listen.
She went to parties on the two weekends following the rape and sat in darkened rooms while a hashish pipe went around and said things too deep for syntax and giggled hysterically, and in the intimate...
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Hardcover. Zustand: As New. Zustand des Schutzumschlags: As New. 1st Edition. Stated First Edition 2007, 1st printing. Bright, clean & tight copy, unread, in AS NEW condition. "At every stage in his career, Leonard Michaels (1933-2003) produced taut, spare tales of sex, love, and other adult intimacies: gossip, argument, friendship, guilt, rage. His collections are among the most admired, influential, and exciting of the past half century. THE COLLECTED STORIES gathers his short fiction in one volume, from the astonishing debut collection Going Places (1969) to the previously uncollected last stories, unavailable since they appeared in The New Yorker, The Threepenny Review, and Partisan Review. [] A fearless writer--'destructive, joyful, brilliant, purely creative,' in the words of John Hawkes--Michaels probed his characters' motivations with brutal humor and startling frankness; his ear for the vernacular puts him in the company of Philip Roth, Grace Paley, and Bernard Malamud. His prose is nothing short of addictive. His COLLECTED STORIES is a landmark." [jacket copy] "Larky, fifully brilliant, as profane as they are aphoristic, Leonard Michaels's stories stand alongside those of his best Jewish contemporaries--Grace Paley and Philip Roth. Like theirs, Michaels's vernacular achieves the level of song . . . 'Murderers' measures up to that other masterpiece about a young boy on a rooftop, Philip Roth's 'Converstion of the Jews' . . . Michaels's later work contains his greatest writing . . . The seven astonishing Nachmann stories consider moral problems freshly. All the ornament seems burned off, purified; the narratives distilled and gorgeously plain, as only a great stylist's can become. Less crackling than the earlier work, they're smoother in the mouth, stark in form. Michaels was writing more Nachmann stories when he died. If finished and published together, they might have made a novel. As it is, they're seven irregular beauties, to be read again and again."--The New York Times Book Review. "A dense, ribald, astringent outpouring of pure talent."--Susan Sontag. "Sentence by sentence, [Michaels's stories] have an electrical charge . . . Other American writers have tried to write stories like these, but Leonard Michaels got there first and has done it better than almost anyone else."--Charles Baxter. "One of the strongest and most arresting prose talents of his generation."--Larry McMurtry. Pristine hardcover w/brilliant corners & crisp edges, a square & tight binding, wrapped in a handsome, intact jacket. Quite presentable. Artikel-Nr. RUB2880
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