A Gate at the Stairs

Gerard sits, fully clothed, in his empty bathtub and pines for Benna. Neighbors in the same apartment building, they share a wall and Gerard listens for the sound of her toilet flushing. Gerard loves Benna. And then Benna loves Gerard. She listens to him play piano, she teaches poetry and sings at nightclubs. As their relationships ebbs and flows, through reality and imagination, Lorrie Moore paints a captivating, innovative portrait of men and women in love and not in love. The first novel from a master of contemporary American fiction, is a revelatory tale of love gained and lost.

A long-awaited collection of stories-twelve in all-by one of the most exciting writers at work today, the acclaimed author of and Stories remarkable in their range, emotional force, and dark laughter, and in the sheer beauty and power of their language.

From the opening story, "Willing"-about a second-rate movie actress in her thirties who has moved back to Chicago, where she makes a seedy motel room her home and becomes involved with a mechanic who has not the least idea of who she is as a human being- unfolds a startlingly brilliant series of portraits of the unhinged, the lost, the unsettled of our America.

In the story "Which Is More Than I Can Say About Some People" ("There is nothing as complex in the world-no flower or stone-as a single hello from a human being"), a woman newly separated from her husband is on a long-planned trip through Ireland with her mother. When they set out on an expedition to kiss the Blarney Stone, the image of wisdom and success that her mother has always put forth slips away to reveal the panicky woman she really is.

In "Charades," a family game at Christmas is transformed into a hilarious and insightful (and fundamentally upsetting) revelation of crumbling family ties.

In "Community Life,"a shy, almost reclusive, librarian, Transylvania-born and Vermont-bred, moves in with her boyfriend, the local anarchist in a small university town, and all hell breaks loose. And in "Four Calling Birds, Three French Hens," a woman who goes through the stages of grief as she mourns the death of her cat (Anger, Denial, Bargaining, Häagen Dazs, Rage) is seen by her friends as really mourning other issues: the impending death of her parents, the son she never had, Bosnia.

In what may be her most stunning book yet, Lorrie Moore explores the personal and the universal, the idiosyncratic and the mundane, with all the wit, brio, and verve that have made her one of the best storytellers of our time.

Berie Carr, an American woman visiting Paris with her husband, summons up for us a summer in 1972 when she was fifteen, living in upstate New York and working as a ticket taker at Storyland, an amusement park where her beautiful best friend, Sils, was Cinderella in a papier-mache pumpkin coach. We see these two girls together — Berie and Sils — intense, brash, set apart by adolescence and an appetite for danger. Driven by their own provincial restlessness and making their own (loose) rules, they embark on a summer that both shatters and intensifies the bond between them.

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.

Since the publication of 'Self-Help', her first collection of stories, Lorrie Moore has been hailed as one of the greatest and most influential voices in American fiction. This title gathers together her complete stories and also includes: 'Paper Losses', 'The Juniper Tree', and 'Debarking'.

“As our vision becomes more global, our storytelling is stretching in many ways. Stories increasingly change point of view, switch location, and sometimes pack as much material as a short novel might,” writes guest editor Elizabeth Strout. “It’s the variety of voices that most indicates the increasing confluence of cultures involved in making us who we are.” presents an impressive diversity of writers who dexterously lead us into their corners of the world.

In “Miss Lora,” Junot Díaz masterfully puts us in the mind of a teenage boy who throws aside his better sense and pursues an intimate affair with a high school teacher. Sheila Kohler tackles innocence and abuse as a child wanders away from her mother, in thrall to a stranger she believes is the “Magic Man.” Kirstin Valdez Quade’s “Nemecia” depicts the after-effects of a secret, violent family trauma. Joan Wickersham’s “The Tunnel” is a tragic love story about a mother’s declining health and her daughter’s helplessness as she struggles to balance her responsibility to her mother and her own desires. New author Callan Wink’s “Breatharians” unsettles the reader as a farm boy shoulders a grim chore in the wake of his parents’ estrangement.

“Elizabeth Strout was a wonderful reader, an author who knows well that the sound of one’s writing is just as important as and indivisible from the content,” writes series editor Heidi Pitlor. “Here are twenty compellingly told, powerfully felt stories about urgent matters with profound consequences.”

In 's eight exquisite stories, Lorrie Moore's characters stumble through their daily existence. These men and women, unsettled and adrift and often frightened, can't quite understand how they arrived at their present situations. Harry has been reworking a play for years in his apartment near Times Square in New York. Jane is biding her time at a cheese shop in a Midwest mall. Dennis, unhappily divorced, buries himself in self-help books about healthful food and healthy relationships. One prefers to speak on the phone rather than face his friends, another lets the answering machine do all the talking. But whether rejected, afraid to commit, bored, disillusioned or just misunderstood, even the most hard-bitten are not without some abiding trust in love.

Gerard sits, fully clothed, in his empty bathtub and pines for Benna. Neighbors in the same apartment building, they share a wall and Gerard listens for the sound of her toilet flushing. Gerard loves Benna. And then Benna loves Gerard. She listens to him play piano, she teaches poetry and sings at nightclubs. As their relationships ebbs and flows, through reality and imagination, Lorrie Moore paints a captivating, innovative portrait of men and women in love and not in love. The first novel from a master of contemporary American fiction, is a revelatory tale of love gained and lost.

A long-awaited collection of stories-twelve in all-by one of the most exciting writers at work today, the acclaimed author of and Stories remarkable in their range, emotional force, and dark laughter, and in the sheer beauty and power of their language.

From the opening story, "Willing"-about a second-rate movie actress in her thirties who has moved back to Chicago, where she makes a seedy motel room her home and becomes involved with a mechanic who has not the least idea of who she is as a human being- unfolds a startlingly brilliant series of portraits of the unhinged, the lost, the unsettled of our America.

In the story "Which Is More Than I Can Say About Some People" ("There is nothing as complex in the world-no flower or stone-as a single hello from a human being"), a woman newly separated from her husband is on a long-planned trip through Ireland with her mother. When they set out on an expedition to kiss the Blarney Stone, the image of wisdom and success that her mother has always put forth slips away to reveal the panicky woman she really is.

In "Charades," a family game at Christmas is transformed into a hilarious and insightful (and fundamentally upsetting) revelation of crumbling family ties.

In "Community Life,"a shy, almost reclusive, librarian, Transylvania-born and Vermont-bred, moves in with her boyfriend, the local anarchist in a small university town, and all hell breaks loose. And in "Four Calling Birds, Three French Hens," a woman who goes through the stages of grief as she mourns the death of her cat (Anger, Denial, Bargaining, Häagen Dazs, Rage) is seen by her friends as really mourning other issues: the impending death of her parents, the son she never had, Bosnia.

In what may be her most stunning book yet, Lorrie Moore explores the personal and the universal, the idiosyncratic and the mundane, with all the wit, brio, and verve that have made her one of the best storytellers of our time.

Berie Carr, an American woman visiting Paris with her husband, summons up for us a summer in 1972 when she was fifteen, living in upstate New York and working as a ticket taker at Storyland, an amusement park where her beautiful best friend, Sils, was Cinderella in a papier-mache pumpkin coach. We see these two girls together — Berie and Sils — intense, brash, set apart by adolescence and an appetite for danger. Driven by their own provincial restlessness and making their own (loose) rules, they embark on a summer that both shatters and intensifies the bond between them.