There are some writers, whose hyper-serious books and their grim subject matter, transform the sadness and hopelessness of the human condition with remarkable accuracy and frankness (Raymond Carver, J.M. Coetzee, Samuel Beckett, Fyodor Dostoevsky, Thomas Bernhard e.g.) into great literature. Then there are those authors who do ‘funny’ really well and whose stories reflect the power and role of levity and humor to shape a book’s tone and emotional heart, including the works of satirists (David Sedaris, John Irving, Tom Robbins, Tom Wolfe, Nick Hornby, Zadie Smith e.g.). There are those who wed ‘sad’ and ‘funny’ really well (Lorrie Moore, David Foster Wallace, Amy Hempel, e.g.), mixing up the two with a deft and subtle touch. These are the great books that bring the tragic and comedic together, that suture morbidity and human fallibility with hints of irony, poignancy and absurdity. You laugh and cry with equal measure as these imagined characters’ lives unfold.
Lorrie Moore is one writer whose stories bring together the humorous and the sad. Her characters are notorious for their brilliant one-liners that highlight the gallows humor in her novels and short stories, wonderful works that often plumb the complexity and ephemerality of relationships with a stylistic nod to both quirky experimentation and minimalist realism. Her first novel Anagrams is a pitch perfect and innovative book that plays with form and plot in a way that presents a series of possible lives of the primary character Beena as she’s written into different experiences and scenarios with reoccurring characters acting in different ways. The book is ultimately about a very simple fact—that we love others while falling out of love with them.
While I’m at it, read Amy Hempel’s short stories as well. She’s great!
Birds of America