Lorrie Moore

A collection of stories from Lorrie Moore, hailed as one of the greatest and most influential voices in American fiction.

The Collected Stories of Lorrie Moore

Beatriz Salvador 

Bill is still writing an essay in his head, one of theoretical common sense, though perhaps he is just drinking too much and it is not an essay at all but the simple metabolism of sugar. But this is what he knows right now, with dinner winding up and midnight looming like a death gong: life's embrace is quick and busy, and everywhere in it people are equally lacking and well-meaning and nuts. Why not admit history's powers to divide and destroy? Why attach ourselves to the age- old stories in the belief that they are truer than the new ones? By living in the past, you always know what comes next, and that robs you of sur- prises. It exhausts and warps the mind. We are lucky simply to be alive together; why get diferentiating and judgmental about who is here among us? Thank God there is anyone at all. 

He is drowsy, dozy, drifting off. He has grown so much in the last year, he hardly fits in her lap anymore; his limbs dangle off like a pietà. His head rolls slightly inside the crook of her arm. She can feel him falling backward into sleep, his mouth round and open like the sweetest of poppies. All the lulabies in the world, all the melodies threaded through with maternal melancholy now become for her - abandoned as a mother can be by working men and napping babies - the songs of hard, hard grief. Sitting there, bowed and bobbing, the Mother feels the entirety of her love as worry and heartbrealk. A quick and irrevocable alchemy: there is no longer one unworried scrap left for happiness.

"I have to go to Canada for a while," she murmured. "Canada." One smiled. "You've always been such an adventuress. Did you get your shots?" This is what happened in love. One of you cried a lot and then both of you grew sarcastic.

There is a way of walking in New York, midevening, in the big, blocky East Fifties, that causes the heart to open up and the entire city to rush in and make a small town there. The city stops its painful tantalizing then, its elusiveness and tease suspended, it takes off its dothes and nestles wakefully, generously, next to you. It is there, it is yours, no longer outwitting you. And it is not scary at all, because you love it very much. 

She should stay. She should stay here with him, unorphan him with love's unorphaning, live wise and simple in a world monstrous enough for years of whores and death, and poems of whores and death, so monstrous how could one live in it at all? One had to build shelters. One had to make pockets and live inside them, She should live where there wei trees. She should live where there were birds. No bird, no tree had ever made her unhappy.

And she thought about this all across Indiana, beneath the Easter hat of sunset that lit the motel roof in Sandusky, through the dawn of Pennsylvania, into which she soared like a birth like someone practicing to be born. There were things she'd forget: a nightgown stuck on a hook behind the bathroom door, earrings on the motel nightstand. And all love that had overtaken her would have to be a memory, a truck on the interstate roaring up from the left, a thing she must let pass.

"Cold men destroy women," my mother wrote me years later. "They woo them with something personable that they bring out for show, something annexed to their souls like a fake greenhouse, lead you in, and you think you see life and vitality and sun and greenness, and then when you love them, they lead you out into their real soul, a drafty, cavernous, empty ballroom, inexorably arched and vaulted and mocking you with its echoesyou hear all you have sacrificed, all you have given, landing with a loud clunk. They lock the greenhouse and you are as tiny as a figure in an architect's drawing, a faceless splotch, blur of stick limbs abandoned in some voluminous desert of stone."

"What is beautiful is seized," murmured my mother, and the blonde woman looked at her oddly and said, "Yeah, I guess," and after a few minutes got up and left. Years later my mother would say to me: "That song your father sang in Carousel. What wonderful lies. He never spent time with you kids, never sang to you or took you places." And when she said it, it became true. But only then, when she said it. Until then it seemed Dad was just Dad, was somehow only what he was supposed to be.

When your parents divide, you, too, bifurcate. You cleave and bubble and break in two, live two lives, half of you crying every morning on the dock at sunrise, black hair fading to dusky gray, part of you traveling off to some other town where you teach school and tell jokes in an Italian accent in a bar and make people laugh. And when your mother starts to lose her mind, so do you. You begin to be afraid of people on the street. You see shapes - old men and spiders - in the wallpaper again like when you were little and sick. The moon's reflection on the lake starts to look to you like a dead fish floating golden belly up. Ask anyone. Ask anyone whose mother is losing her mind. 

A series of pictures here of mothers and daughters switching places-women switching places to take care of one another. You, the daughter, becoming the mother, the Ceres, and she the daughter, kidnapped to hell, and you roam the earth to find her, to mourn her, leaving the trees and grain to wither, having no peace, you have no peace.

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