After the Plague and Other Stories

Overview

Hailed as one of the best short story writers of his generation, T.C. Boyle presents sixteen stories—nine of which appeared in The New Yorker—that highlight the evolving excellence of his inventive, modern, and wickedly witty style. In After the Plague, Boyle exhibits his maturing themes through an amazing array of subjects in a range of emotional keys. He taps today's headlines, from air rage ("Friendly Skies") to abortion doctors ("Killing Babies"), and delves into more naturalistic themes of quiet power and ...

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Overview

Hailed as one of the best short story writers of his generation, T.C. Boyle presents sixteen stories—nine of which appeared in The New Yorker—that highlight the evolving excellence of his inventive, modern, and wickedly witty style. In After the Plague, Boyle exhibits his maturing themes through an amazing array of subjects in a range of emotional keys. He taps today's headlines, from air rage ("Friendly Skies") to abortion doctors ("Killing Babies"), and delves into more naturalistic themes of quiet power and passion, from a tale of first love ("The Love of My Life") to a story about confronting old age ("Rust"). Combining joy and humor with the dark, intense scenarios that Boyle's audience has come to love, After the Plague reveals a writer at the top of his form.

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Editorial Reviews

.. Los Angeles Times
In an age of war where the foe is indistinct and difficult to identify, Boyle has become the poet and the prophet of our time.
From The Critics
The short stories in T.C. Boyle's darkly entertaining collection appear to come from the morning newspaper. In "Friendly Skies," a woman is on an airplane when an obnoxious passenger, wielding a hot coffeepot, goes berserk in a fit of air rage. In "The Love of My Life," a pair of high school sweethearts, following the birth of their unwanted baby in a cheap motel room, dispose of the body in a Dumpster. And in "Peep Hall," a middle-aged man discovers that his young neighbor lives with several women in a house meant to resemble a college dorm, from which images are transmitted daily to a Web site.

Boyle's strategy is to draw on familiar, albeit peculiar, situations from popular culture—whether instances of Internet voyeurism or abortion-clinic violence—so that we can enter a world vicariously and witness, at close range, the outrageous behavior featured on Dateline or 20/20. These stories, however, are more than refashioned journalism. Fueled by irony, intelligence and a gift for dark comedy, Boyle, in lively, eloquent prose, delivers stories that are disturbing and violent yet make us laugh; stories that reflect contemporary culture yet remain artistically accomplished and inventive.

At the heart of about half of these works is a man in his thirties or forties who drinks too much and is alone and unfulfilled. A woman becomes the central object of his desire; however, personal demons, fueled by drugs or booze, lead him toward irresponsible and sometimes violent behavior. Not to be outdone, Boyle's female characters are equally destructive, though their impulses are more controlled; they channel their aggression into competition.

In one of thecollection's best tales, "Termination Dust," the narrator, Ned, is awaiting the arrival of 107 single women from California who have flown north to meet the men of Alaska, a state that, according to the story, boasts two eligible bachelors for every woman. Quickly falling for Jordy, an English teacher "with eyes the color of glacial melt," he hopes to outbid the others and claim her as his date at a charity auction. Unfortunately, he is outmaneuvered by his nemesis, Bud Withers, who recently lost his feet to frostbite and must now rely on prosthetics: "Every step he took looked like a recovery, as if he'd just been shoved from behind." After Bud whisks Jordy away to his remote cabin, Ned stages a dramatic rescue. What is most engaging about this comic tale is the eerie reversal Boyle introduces near the end, leaving us wondering who we should trust and root for.

Although Boyle is perhaps best known for novels like World's End and The Road to Wellville, his accomplishments as a short-fiction writer are arguably greater. Many of his stories (including nine of these sixteen) have appeared in The New Yorker, and his work turns up in the annual O. Henry Prize Stories and Best American Short Stories volumes. The author's burgeoning success may stem from an increased focus on character development. Boyle began his career in the late '70s as a rather cynical humorist—in the vein of John Barth and Thomas Pynchon—who wrote conceptual stories that were more clever than deeply felt. The stories in this collection, however, while retaining the humor and fecund imagination of the earlier works, are fuller and longer, and they give us psychologically and emotionally resonant characters. Though a few of these stories feel gimmicky and contrived, the best of them—"Termination Dust," "She Wasn't Soft," "Killing Babies," "The Underground Gardens," "After the Plague"—feature characters who have a tendency to stick around in our minds after their narratives end.

Like Don DeLillo, Boyle recognizes the strangeness of contemporary existence: the obsessions, mysteries, fears, self-delusions and frustrations. In "After the Plague," a somewhat whimsical postapocalyptic story (the narrator escaped the fatal Ebola mutation virus because he was isolated in the mountains), Boyle describes an abandoned California populated by a handful of paranoid survivors: "[T]here wasn't a soul in sight. If it weren't for that—and a certain creeping untended look to the lawns, shrubs and trees—you wouldn't have noticed anything out of the ordinary." While strange and disturbing, there's something about Boyle's America that is hauntingly familiar. He is that rare writer who can keep us entertained while revealing the barbarity and emptiness that lies beneath the surface of our world.
—James Schiff

Publishers Weekly
If Boyle's progress as a novelist has been uneven his more recent narratives have not managed to achieve the acclaim of 1990's East Is East his talent for crafting amusing and startling short stories has never been in doubt. This compilation (his fifth, not counting a collected volume) culls pieces published in the New Yorker, GQ and other outlets and showcases the signature elements of his fiction: darkly comic scenarios (a surly airline passenger goes berserk and a downtrodden elementary school teacher saves the day), pitiful and realistic characters (an Internet porn addict) and mundane but serious subjects (love, overpopulation, abortion). While there's not much new ground broken here, Boyle more than makes up for the relative lack of innovation by delivering his trademark dazzler endings. In "She Wasn't Soft," a triathlete's idiot boyfriend tries to atone for his wretched behavior by drugging her rival in a race, with potentially disastrous results. And in the title story, an apocalypse leaves only a handful of people on Earth; after a disastrous experience with another survivor, the narrator learns that, even in the worst of situations, love can prevail. Boyle has matured since 1995's Without a Hero: here he relies more on language than farce or shock value, describing the relationship between two lovers who "wore each other like a pair of socks," or, conversely, a college boy who enters a girl's room and feels "like some weird growth sprung up on the unsuspecting flank of her personal space." Boyle's imagination and zeal for storytelling are in top form here, making this collection a smash. Author tour. (Sept. 10) Copyright 2001 Cahners Business Information.
Library Journal
In his sixth collection of short stories, Boyle presents a series of wickedly ironic, sometimes poignant, sometimes darkly humorous tales that speak directly to the human condition and to a variety of contemporary social issuesfrom abortion to Internet voyeur cams, from railway killers to air rage. Among the best are a wonderfully crafted tale about an elderly widowa beautiful old lady clothed in catsand another about an ex-rocker, ex-actor, surf-shop owner who finally loses his cool when faced with three teenage harassers and a smug jewel thief. Then there are the Black and White Sisters who seem determined to eliminate all color in their lives. Somewhat out of context, but no less touching, is the story of an Italian immigrant farmer who in 1905 purchases, sight unseen, 70 acres of California wasteland and loses his love but keeps on digging, never losing his vision of a better future. The final and title story focuses on four survivors of a disease-induced apocalypsea classic tale of can't live with 'em, can't live without 'em that leaves one smiling in spite of the circumstances. All in all this is classic Boyle, a work to be embraced by his enthusiasts and one that belongs in most collections of serious fiction. [Previewed in Prepub Alert, LJ 5/15/01.]David W. Henderson, Eckerd Coll. Lib., St. Petersburg, FL Copyright 2001 Cahners Business Information.
Kirkus Reviews
Aging, estrangement, generational conflict, sexual rivalry, irrational violence-oh, and the destruction of the world as we know it: these are the recurring themes explored with mordant comic finesse in 16 exuberantly in-your-face stories. The predilection for daft high-concept premises displayed in such previous collections as Boyle's "If the River Was Whiskey" (1989) is still very much in evidence: a female triathlete's couch-potato boyfriend works out his hidden resentments ("She Wasn't Soft"); a divorced bartender succumbs to the charms of his nubile neighbors, a houseful of college girls whose intimate moments are broadcast for Internet subscribers ("Peep Hall"); and scattered survivors in a brave new world decimated by an Ebola-like virus reenact the idyll shared by Adam and Eve, complicated ever so slightly by the presence of an angry Other Woman (the lively title story). Boyle gives us his own jaded takes on familiar literary classics-Malcolm Lowry's "Under the Volcano "is amusingly skewered in "Mexico," and "The Black and White Sisters" impudently echoes William Faulkner's "A Rose for Emily"-and rewrites a lurid real-life tabloid story of several years ago in "The Love of My Life." Feckless under-40s undergo farcical comeuppances in such haven't-we-been-here-before productions as "Killing Babies," "Death of the Cool," and "Termination Dust." Most interestingly, there's a repeated focus on middle-aged and older protagonists rudely awakened to grim evidence of their failing powers and inescapable mortality-as witness to the stroke victim who lies undiscovered in his backyard even after his wife stumbles to his aid ("Rust"), the aging novelist who tries and fails toreconcile with his resentful estranged son ("Achates McNeil"), and the ghost who watches sorrowfully as his surviving spouse grows ever further distanced from reality ("My Widow"). A bit darker and harsher, perhaps, than earlier collections, but on the whole pretty much the same kind of thing this writer has been cranking out since the late '70s. If you like Boyle, you won't be able to resist.
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Product Details

  • ISBN-13: 9780142001417
  • Publisher: Viking Penguin
  • Publication date: 12/17/2002
  • Edition description: Reprint
  • Pages: 320
  • Sales rank: 993,634
  • Product dimensions: 5.22 (w) x 7.76 (h) x 0.72 (d)

Meet the Author

T. Coraghessan Boyle

T.C. Boyle is the author of eight novels and six short story collections, all available from Penguin. His 1987 novel, World's End, won the PEN/Faulkner Award. In 1999 he received the PEN/Malamud Award for Excellence in Short Fiction. His short stories appear regularly in such magazines as The New Yorker, Granta, Esquire, and Playboy.

Biography

In the interest of time and space, it might be easier to note the writers that T. C. Boyle isn't compared to. But let's give the reverse a try: Donald Barthelme, John Barth, Thomas Pynchon, Evelyn Waugh, Franz Kafka, James Joyce, Kingsley Amis, Thomas Berger, Robert Coover, Lorrie Moore, Stanley Elkin, Tom Robbins, Tom Wolfe, Hunter S. Thompson, Don DeLillo, Flannery O'Connor.

Oh, let's not forget F. Lee Bailey. And Dr. Seuss.

Boyle, widely admired for his acrobatic verbal skill, wild narratives and quirky characters (in one short story, he imagines a love affair between Dwight Eisenhower and Nikita Khrushchev's wife), has dazzled critics since his first novel in 1981.

Consider this example, from Larry McCaffery in a 1985 article for The New York Times: "Beneath its surface play, erudition and sheer storytelling power, his fiction also presents a disturbing and convincing critique of an American society so jaded with sensationalized images and plasticized excess that nothing stirs its spirit anymore.... It is into this world that Mr. Boyle projects his heroes, who are typically lusty, exuberant dreamers whose wildly inflated ambitions lead them into a series of hilarious, often disastrous adventures."

But as much as critics will bow at his linguistic gifts, some also knock him for resting on them a bit too heavily, hinting that the impressive showmanship attempts to hide a shortage of depth and substance.

Craig Seligman, writing in The New Republic in 1993, pointed out that "Boyle loves a mess. He loves chaos. He loves marshes and jungles, and he loves the jungle of language: luxuriant sentences overgrown with lianas of lists, sesquipedalian words hanging down like rare fruits. For all its exoticism, though, his prose is lucid to the point of transparency. It doesn't require much deeper concentration than a good newspaper (though it does require a dictionary)."

Reviewing The Tortilla Curtain in 1995, New York Times critic Scott Spencer scratched his head over why Boyle had invited readers along for this particular ride: "Mr. Boyle's fictional strategy is puzzling. Why are we being asked to follow the fates of characters for whom he clearly feels such contempt? Not surprisingly, this is ultimately off-putting. Perhaps Mr. Boyle has received too much praise for his zany sense of humor; in this book, that wit often seems merely a maddening volley of cheap shots. It's like living next door to a gun nut who spends all day and half the night shooting at beer bottles."

Growing up, Boyle had no aspirations to be a writer. It wasn't until his studies at State University of New York, where he as a music student, that he bumped into his muse. "I went there to be a music major but found I really couldn't hack that at the age of 17," he told The Writer in 1999. "I just started to read outside my classes -- literature and history. I wound up being a history and English major; when I wandered into a creative writing class as a junior, I realized that writing was what I could do."

He then started teaching, in part to avoid getting drafted into the Vietnam War, and later applied to the University of Iowa Writer's Workshop.

After a collection of short stories in 1979, he released his first novel, Water Music, called "pitiless and brilliant" by The New Republic, and has shuttled back and forth between novels and short stories, all known for their explosions of character imagination. Mr. Boyle's literary sensibility ... thrives on excess, profusion, pushing past the limits of good taste to comic extremes," McCaffery wrote in his 1985 New York Times piece. "He is a master of rendering the grotesque details of the rot, decay and sleaze of a society up to its ears in K Mart oil cans, Kitty Litter and the rusted skeletons of abandoned cars and refrigerators."

In his review of Drop City, the 2003 novel set in California commune that won Boyle a National Book Award nomination, Dwight Garner joins the chorus of critical acclaim over the years – "Boyle has always been a fiendishly talented writer" – but he also acknowledges some of the criticism that Boyle has faced in these same years.

"The rap against Boyle's work has long been that he's a sort of madcap predator drone, raining down hard nuggets of contempt, sarcasm and bitter humor on the poor men and women in his books while rarely giving us characters we're actually persuaded to feel anything about," he wrote. "This is partly a bum rap -- and I'd hate to knock contempt, sarcasm and bitter humor -- but there's enough truth in it that it's a joy to find, in Drop City that Boyle gives us a lot more than simply a line of bong-addled innocents led to slaughter."

But perhaps the neatest summary of Boyle's work would be from Lorrie Moore, one of the novelists to which he has been compared. In a 1994 New York Times review of Boyle's short story collection Without a Hero, she praised Boyle's "astonishing and characteristic verve, his unaverted gaze, his fascination with everything lunatic and queasy."

"God knows, Mr. Boyle can write like an angel," she continues later, "if at times a caustic, gum-chewing one. And in this strong, varied collection maybe we have what we'd hope to find in heaven itself (by the time we begged our way there): no lessening of brilliance, plus a couple of laughs to mitigate all that high and distant sighing over what goes on below."

Good To Know

Boyle changed his middle name from John to Coraghessan (pronounced "kuh-RAGG-issun") when he was 17.

He is known almost as much for his ego as his writing. "Each book I put out, I think, 'Goodbye, Updike and Mailer, forget it," The New Republic quoted him as saying. "I joke at Viking that I'm going to make them forget the name of Stephen King forever, I'm going to sell so many copies.

Boyle's philosophy on reading and writing, as told to The Writer: "Good literature is a living, brilliant, great thing that speaks to you on an individual and personal level. You're the reader. I think the essence of it is telling a story. It's entertainment. It's not something to be taught in a classroom, necessarily. To be alive and be good, it has to be a good story that grabs you by the nose and doesn't let you go till The End."

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    1. Also Known As:
      T.C. Boyle
    2. Hometown:
      Santa Barbara California
    1. Date of Birth:
      December 2, 1948
    2. Place of Birth:
      Peekskill, New York
    1. Education:
      B.A. in music, State University of New York at Potsdam, 1970; Ph.D. in literature, Iowa University, 1977
    2. Website:

Read an Excerpt

AFTER THE PLAGUE AND OTHER STORIES
by T.C. Boyle

INTRODUCTION

T.C. Boyle is a writer who composes his stories in the way a magician performs his tricks, with an abundance of dazzle and sleight of hand. And yet, above all, he draws the reader into his world with arresting and often irrational characters, strong plots, and his trademark lyricism. There are few writers today who combine his sheer storytelling power with such poetry. But that is only the beginning. What makes these stories so affecting is their social consciousness—Boyle holds up our evolving behavior to the light of analysis and to drama, satire, and comedy, demonstrating his range here in any number of voices and modes. These stories are very different from anything you will have read before, each story distinct from the one that precedes it, and each of them breaking new fictive ground. They are gripping, dramatic, and hilarious by turns.

The social concerns reflected here were, as many readers will know, prefigured in Boyle's recent novels, A Friend of the Earth, which dealt with environmental issues, and The Tortilla Curtain, a book that focuses on illegal immigration and has been celebrated as a Grapes of Wrath for our time. Some of the stories in the present volume feature behavior pulled directly from the headlines, such as "The Love of My Life," in which two high school sweethearts, who "wore each other like a pair of socks," deal with the birth of an unwanted child by abandoning it in a Dumpster, and "Killing Babies," which addresses the abortion issue through the thoughts and actions of a recovering drug addict employed as a grunt in his elder brother's abortion clinic. This growth into social and political works seems a natural progression for Boyle. As he matures he seems to have become even more aware of world issues, often skewing his satirical outlook to contemplate an issue that is particularly close to him—abortion and teenage pregnancy in the case of the aforementioned stories—but also our environmental crises and the ever widening gap between the economic classes.

Yet throughout his career, Boyle has always been fascinated with the relationships that humans carve out of each other—how they evolve, and how they ultimately stay the same. There is no lack of such character-driven tales in After the Plague. In "Rust," an elderly married couple forced to come to terms with the inevitable end of their lives together feel both a grim sense of fear and, oddly, relief. "My Widow" lovingly imagines the author's wife after his own death ("my widow is smiling, her face transformed into a girl's, the striations over her lip pulling back to reveal a shining and perfect set of old lady's teeth"), but instead of granting her the serenity of old age, he pictures her as a lonely old cat lady being preyed upon by a vicious con artist.

Yet, it is the title story, "After the Plague," that marks Boyle at the very top of his form, in a simultaneously charming and arresting look at what would happen if you were among the very last people on earth ("I knew there wouldn't be much opportunity for dating in the near future, but we just weren't suited to each other"). A work that cannot easily be categorized, and unquestionably one of the most effective of the collection, "After the Plague" blends human idiosyncrasies with critical social analysis, allowing the reader to laugh at his or her own weaknesses while being thankful that none of us (by any stretch of the imagination) can be as grotesque or irrational or downright human as Boyle's rich characterizations make us out to be. Or can we?

T. C. Boyle has always been at the forefront of contemporary American fiction, and After the Plague shows him at his most prescient, delineating and examining not only the way we live today, but what our behavior portends for the future as well. These are stories that beg to be read aloud, stories that resonate in the way of the tales told round a campfire. Enjoy.

ABOUT T.C. BOYLE

T.C. Boyle is the bestselling author of After the Plague, T.C. Boyle Stories, Riven Rock, The Tortilla Curtain, Without a Hero, The Road to Wellville, East Is East, If the River Was Whiskey, World's End (winner of the PEN/Faulkner Award), Greasy Lake, Budding Prospects, Water Music, and Descent of Man (all available from Penguin). His fiction regularly appears in major American magazines, including The New Yorker, GQ, The Paris Review, Playboy, and Esquire.

AN INTERVIEW WITH T.C. BOYLE

Well, to begin with, I have to say that I consider myself a very lucky individual in that I spend as many as four or five hours a day in a dream-state—and I get paid for it too. Mon Dieu! Formidable! Stories are the foundation and backbone of my life, and I can't really say why that is, but I can tell you that my deepest thinking and my greatest pleasure derives from creating stories, from putting one semantic block atop another until something clicks and the piece is finished. And you'll notice that I use the term "stories" here—that is because I make no distinction between novels and short stories, except that the novels are more complex and take more time and space to work out. As many readers will know, I began as a short story writer and perhaps published as many as thirty or forty stories before I turned my hand to my first novel (Water Music, 500 pages of stories all threaded together in 104 chapters).

You begin this collection of stories with the following quote from Gustave Flaubert's Madame Bovary: "Language is like a cracked kettle on which we beat our tunes to dance to, while all the time we long to move the stars to pity." Why did you choose this particular inscription? How does Flaubert's description of language relate to your own understanding of the word?

Since it's not really the place of the writer to interpret his/her own work, I think I'll leave this to the reader's imagination. Study the Flaubert quote. What does it say to you apart from the stories it introduces? Now read the stories, and finally, go back to the quote. Has anyone, ever, found language sufficient to express the emotions that rend us day and night?

"Killing Babies" is a work wrought with the volatile controversy of abortion rights. Initially it appears to be the work of a man who is purely pro-choice. Yet, upon closer inspection it actually does a fair job of presenting both sides of the issue, especially when the protagonist, Rick, executes one of the protestors, effectively lowering himself to the level of those that personally attack and harm abortion providers. What was your motivation for a story like this one? Were you hoping to make a statement regarding your own feelings on the abortion controversy?

I do not write stories with a political message. Any agenda an author may have should be saved for polemics or the campaign trail. I write stories in order to work out my own feelings about a subject, issue, emotion, scenario, and my stance on it must evolve along with the movement and characters of the story, otherwise I would produce false and shoddy goods. I do believe that an astute reader will apprehend precisely where I stand on every issue, but I'm not interested in waving flags. What grabs me about this story—"Killing Babies"—is the moral nullity of its narrator. He knows nothing of issues, only of blood and hate and what team he happens, by chance, to be on. And I love the story for its final lines, which continue to chill me every time I look at them.

The relationship between Achates and his father Tom in your story "Achates McNeil," although very similar to many young people's experiences with an estranged parent, have the added conflict of his father's fame as an author. Does this relationship in any way parallel the relationship that you have with your own family? Also, the character of Tom McNeil shares both your first name, and in some ways, your appearance and mode of dress. Why did you choose to portray the character in this way, especially since Tom McNeil is not the most sympathetic character in the story?

I wrote this story when my children were young, imagining the burdens they might have to carry as the progeny of a famous egomaniac, which is, I suppose, a pretty fair self-description. Do I empathize with them? Oh, yes, indeed—which is why the story is narrated from the point of view of the son. (And no, I'm not the father in the story, but I could have been.)

"The Love of My Life" is quite obviously based on the State of Delaware's case against Amy Grossberg and Brian Peterson, the two college students charged with murder after abandoning their infant in a Dumpster immediately after Grossberg gave birth in a motel room. What was it about this case that compelled you to explore it in a fictional narrative?

I had heard of the case in passing, as well as another similar case (the Prom Mom) that occurred around that time. As often happens in my stories I began with the why—why might this have happened and what does it mean? I was fortunate with the story, in that it turned out to be one of the gems of the collection, passionate and heartbreaking. We've all been in love. We've all been in that motel room. And we've all made our choices.

In all of your work, the names of your characters seem to be chosen to convey a certain personality trait or quality of the character, such as the character of Hart Simpson in the twenty-first-century love story "Peep Hall." How much time and thought do you put into this choice? Do these names more often occur to you spontaneously, or do the characters seem to produce their own names as you create them?

Again, such interpretive questions should best be left to the readers of the world. Certainly many of my characters have names that echo or imply something about them, but when this is the case, it is a happy accident (or, rather, the inspiration of the moment). It would seem artificial, I think, to push the characters' names too firmly in an allegorical direction, unless, of course, allegory is your intention. Better to let them resonate, and seem real.

"My Widow" at first appears to be a fairly commonplace description of an elderly widowed woman and her lifestyle—the ordinary (going to the shopping mall) and extraordinary alike (thwarting a burglary attempt). Yet it's written with the attentive sensitivity and empathy of someone who truly understands this woman's situation. Is this merely a composite sketch of an elderly woman, or is it based on an acquaintance of yours? Or is this a case of the author looking into the future to evoke what may happen to your loved ones after your own death?

Are you kidding? A composite sketch of an elderly woman? Again, mon Dieu! I live with her—have lived with her for most of my natural life, at least that part of it after which I was pronounced an adult by the authorities at large. There is love in the story, no doubt, and sweetness too, but it is tempered, I think by a certain satiric edge as well (you will notice that I gave her a second husband...but he doesn't last long, does he?). The piece first appeared in The New Yorker on Valentine's Day, and it brought me more mail than any story I've ever published. All the people who wrote me chose to see the story in its essential garment of sweetness and concern. And I guess I'd better leave it at that.

In both "The Black and White Sisters" and "The Underground Gardens," the characters are altering the classical sense of home to suit their own needs, despite being thought bizarre by the (less-enlightened?) population that surrounds them. While it is true that everyone's home is modified to one's own needs and specifications, many of the homes that appear in your books are wildly extreme in their modifications. This convention reoccurs in many of your stories and novels, recently manifested as Sierra's tree in A Friend of the Earth. What is it about this ideal of home that appeals to you? Is your own home infused with your personal philosophy?

Good question. I suppose I am interested in the futility of our lives, in which we alter the environment, raise our children, build our homes, and go to the dentist, only to give it up in a rotting heap of flesh, tied forever to the earth. I know it's futile. I know everything is hopeless. And yet I can't help going on, as if I were a character in a Beckett play.

Of late, you've had a very strong theme of looming ecological disaster. For example, the world you visualized in A Friend of the Earth was one destroyed by the greenhouse effect and mass extinction of most of the mammal population, not excluding human beings. The world you visualize in the title story, "After the Plague," is one (nearly) wiped clean of the human species all together. Obviously, this view is not a very optimistic one for the future of the planet. What is your actual view of the Earth twenty years in the future? How about one hundred years in the future? Do you think that our efforts to "Save the Planet" are actually steps taken in the right direction to reverse the damage we've done, or is it truly too late for us?

Though the collection in which "After the Plague" appears was published a year after A Friend of the Earth, the story precedes and in a way prefigures the novel. As many readers will know, I have been obsessed with our animal origins, with Darwin, with the environment, from the beginning of my career. (My first collection, published in 1979, was Descent of Man, and the title story opens with the immortal line, "I was living with a woman who suddenly began to stink." And why? Because she is working very closely with a colony of apes, as a researcher.) So, in short, yes, I am environmentally concerned, and no, I don't have any hope. With A Friend of the Earth, I went around the world on my book tours, depressing the hell out of people, while at the same time making them laugh, of course. The only hope I could come up with, and this after a long evening of reading excerpts and taking questions, is a program I'd like to initiate. It's very simple: if we can all of us on the earth, and no cheating, please, agree to refrain from sex for one hundred years, the problem will be solved.

There's been a terrific buzz about your new novel Drop City. Can you tell us a bit about it?

Yes, there has—more so, in fact, than for any of my books thus far. I don't really know how to account for that, beyond saying that I've put my usual effort, not to mention heart, soul, and seat of the pants into it, unless, perhaps, it's the era and subject people are warming to. This book is an outgrowth both of the first story in After the Plague ("Termination Dust," set in Alaska, and it is referenced in Drop City) and A Friend of the Earth. If I went twenty-five years into the future to examine the environment in that book, now, in Drop City, I reverse thirty years to 1970 and the back-to-the-earth movement of that period. Yes, folks: read hippies. The ethic then, when there were a mere four and a half billion of us on earth, was to reject the product- and technology-dominated society we've all grown up in and go back to the basics, to live simply, to live off the land in a Thoreauvian way. Was that possible then? Is it possible now? That is what Drop City is about. It takes a group of hippies—the Drop City commune— and transports them to the last and final place on the continent, Alaska, where they come into prodigious contact with the locals, who also desire to live close to the earth. The result, if I've got it right, should be a kind of feast for the reader's imagination.

DISCUSSION QUESTIONS,/b>

  1. Alaska is one of this country's last unspoiled areas. Needless to say, there's not much of a chance for dating when most of the roads to your already slimly populated town are impassible for most of the year. In "Termination Dust," Ned chases Jordy miles into the wilderness to rescue her from her captor, Bud. Why do you believe he does this? Ned claims "for all intents and purposes, Bud had abducted her," but when he arrives at the cabin, it is obvious that Jordy is there of her own free will. Why does Ned then carry through with his plan? Does he drive himself mad with love for Jordy, or is it a case of righteous indignation at the thought that Bud may have stolen his last chance at companionship?
  2. The relationship between Paula and Jason in "She Wasn't Soft" seems to be based on the old axiom that opposites attract. Yet, Jason does not seem to be very supportive of Paula's goals. Instead, it appears as if he is there only to sabotage, going so far as to drug her merely yards from a finish line, moments from beating her sworn enemy. Why do you believe he would do this? What kind of motivation can you find in the characterization of he and Paula's relationship that would make his actions believable?
  3. The premise of "Killing Babies" is very much a hot button topic in society today. There is a constant threat of violence surrounding abortion providers and many fear for their lives as colleagues are murdered. Rick reacts to violent protesters in a violent fashion. Do you believe that there is a double-standard today on each side of the abortion debate? Do you believe the media would treat a pro-choice activist who murders a pro-life activist exactly the same way as a pro-life activist who murders a pro-choice activist? If not, which do you believe would be vilified more? Would this decision be dependent on the climate of the area in which you reside?
  4. In "Captured by Indians" the gory American Indian stories Melanie is reading from a worn paperback are intriguingly juxtaposed with her own predicament—she is pregnant with a child her partner will not want. What comparisons can be drawn between the stories and her own life? Reread the last paragraph of the story. Does Melanie see her own child as being a potential victim of an "Indian brave"? Who is this unaccountable threat?
  5. "Achates McNeil" is a poignant tale of a college-age boy pursued by a celebrity novelist—the father he never knew. It must be difficult to define yourself as a young man while living in the shadow of apparent greatness, and Achates goes so far as to lie about his birthright to avoid being lumped in with his father's genius. What is it that allows Achates to come to terms with his father? What do you think snapped inside him when he walked out of his father's reading? Do you believe that he's broken off with his absentee father for good? Or does he only identify with him more?
  6. When reading "The Love of My Life," you cannot help but think of the young couple accused and tried for the same crime only a few years ago. What is interesting about Boyle's story is the way it is approached—with apparent sympathy for the parties involved. Does this personification of people we would normally classify immediately as monsters affect your own feelings regarding this kind of crime? Can we also sympathize with these two young people while still condemning the crime they committed? Did you?
  7. On the surface "Going Down" is a modest story of a man engrossed in a book. Yet, John is so engrossed that when his son shows up from Plattsburgh in the middle of a snowstorm, he barely greets him, and the fact that his wife has been missing since noon only makes him furrow his brow for a moment. Why is John unable to release himself from the story within the pages of that book? Do you think he identifies with the character of Don Fausto? If so, what is it about that man's plight and John's life that leads him to form such an intensely unbreakable bond with the novel?
  8. "The Black and White Sisters" is an odd tale of two women who wanted a world "where everything turned out right in the end." Moira and Caitlin desire a life much like the one shown in the black and white programs of the fifties and sixties, down to the lack of color. Would you consider this story a parable, a call to return our own world to one of simplicity? Do you think that a world such as the one Moira and Caitlin is truly simpler, or only less colorful?
  9. Edison Banks, the protagonist of "Death of the Cool," was a minor rock star in the eighties who managed to fare a little better in television in the nineties, allowing him the luxury of living in a California beach town with a small fleet of expensive foreign cars and a maid. Apparently, his small fortune has not done much for his bitter cynicism and has definitely done nothing to quell his raging ego. Yet, he is chased off the beach by a group of teenage hoodlums, shot down by a woman in a bar at four in the afternoon, and nearly robbed by the "discerning burglar." And throughout it all, Banks still feels that this is a true affront to his sparkling past. Do you believe that this is an accurate portrayal of a mid-life crisis? When we turn into "pathetic old guys," as Banks says, is there an inevitable fight to retain your youthfulness—fast cars, facelifts, etc, or is it impossible to grow old gracefully since the death of our own cool is too much to bear without the Aston Martin and the top shelf margarita?
  10. Imagine a world as described by Boyle in "After the Plague." Despite the entire population of the world being wiped out, the protagonist appears to be ready to carry on with his life, just as before, without the dating. Sarai reacts with a little less patience, refusing to believe that the world as she knew it has disappeared. You could consider the protagonist to be cold and unfeeling for being able to just pick up and move on, but, on the other hand, you could also consider him brave for venturing out into this new world. Hypothetically, how do you think you would react if you were just one of a few people left on earth?
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Reading Group Guide

AFTER THE PLAGUE AND OTHER STORIES
by T.C. Boyle

INTRODUCTION

T.C. Boyle is a writer who composes his stories in the way a magician performs his tricks, with an abundance of dazzle and sleight of hand. And yet, above all, he draws the reader into his world with arresting and often irrational characters, strong plots, and his trademark lyricism. There are few writers today who combine his sheer storytelling power with such poetry. But that is only the beginning. What makes these stories so affecting is their social consciousness—Boyle holds up our evolving behavior to the light of analysis and to drama, satire, and comedy, demonstrating his range here in any number of voices and modes. These stories are very different from anything you will have read before, each story distinct from the one that precedes it, and each of them breaking new fictive ground. They are gripping, dramatic, and hilarious by turns.

The social concerns reflected here were, as many readers will know, prefigured in Boyle's recent novels, A Friend of the Earth, which dealt with environmental issues, and The Tortilla Curtain, a book that focuses on illegal immigration and has been celebrated as a Grapes of Wrath for our time. Some of the stories in the present volume feature behavior pulled directly from the headlines, such as "The Love of My Life," in which two high school sweethearts, who "wore each other like a pair of socks," deal with the birth of an unwanted child by abandoning it in a Dumpster, and "Killing Babies," which addresses the abortion issue through the thoughts and actions of a recovering drug addict employed as a grunt in his elder brother's abortion clinic. This growth into social and political works seems a natural progression for Boyle. As he matures he seems to have become even more aware of world issues, often skewing his satirical outlook to contemplate an issue that is particularly close to him—abortion and teenage pregnancy in the case of the aforementioned stories—but also our environmental crises and the ever widening gap between the economic classes.

Yet throughout his career, Boyle has always been fascinated with the relationships that humans carve out of each other—how they evolve, and how they ultimately stay the same. There is no lack of such character-driven tales in After the Plague. In "Rust," an elderly married couple forced to come to terms with the inevitable end of their lives together feel both a grim sense of fear and, oddly, relief. "My Widow" lovingly imagines the author's wife after his own death ("my widow is smiling, her face transformed into a girl's, the striations over her lip pulling back to reveal a shining and perfect set of old lady's teeth"), but instead of granting her the serenity of old age, he pictures her as a lonely old cat lady being preyed upon by a vicious con artist.

Yet, it is the title story, "After the Plague," that marks Boyle at the very top of his form, in a simultaneously charming and arresting look at what would happen if you were among the very last people on earth ("I knew there wouldn't be much opportunity for dating in the near future, but we just weren't suited to each other"). A work that cannot easily be categorized, and unquestionably one of the most effective of the collection, "After the Plague" blends human idiosyncrasies with critical social analysis, allowing the reader to laugh at his or her own weaknesses while being thankful that none of us (by any stretch of the imagination) can be as grotesque or irrational or downright human as Boyle's rich characterizations make us out to be. Or can we?

T. C. Boyle has always been at the forefront of contemporary American fiction, and After the Plague shows him at his most prescient, delineating and examining not only the way we live today, but what our behavior portends for the future as well. These are stories that beg to be read aloud, stories that resonate in the way of the tales told round a campfire. Enjoy.

ABOUT T.C. BOYLE

T.C. Boyle is the bestselling author of After the Plague, T.C. Boyle Stories, Riven Rock, The Tortilla Curtain, Without a Hero, The Road to Wellville, East Is East, If the River Was Whiskey, World's End (winner of the PEN/Faulkner Award), Greasy Lake, Budding Prospects, Water Music, and Descent of Man (all available from Penguin). His fiction regularly appears in major American magazines, including The New Yorker, GQ, The Paris Review, Playboy, and Esquire.

AN INTERVIEW WITH T.C. BOYLE

Well, to begin with, I have to say that I consider myself a very lucky individual in that I spend as many as four or five hours a day in a dream-state—and I get paid for it too. Mon Dieu! Formidable! Stories are the foundation and backbone of my life, and I can't really say why that is, but I can tell you that my deepest thinking and my greatest pleasure derives from creating stories, from putting one semantic block atop another until something clicks and the piece is finished. And you'll notice that I use the term "stories" here—that is because I make no distinction between novels and short stories, except that the novels are more complex and take more time and space to work out. As many readers will know, I began as a short story writer and perhaps published as many as thirty or forty stories before I turned my hand to my first novel (Water Music, 500 pages of stories all threaded together in 104 chapters).

You begin this collection of stories with the following quote from Gustave Flaubert's Madame Bovary: "Language is like a cracked kettle on which we beat our tunes to dance to, while all the time we long to move the stars to pity." Why did you choose this particular inscription? How does Flaubert's description of language relate to your own understanding of the word?

Since it's not really the place of the writer to interpret his/her own work, I think I'll leave this to the reader's imagination. Study the Flaubert quote. What does it say to you apart from the stories it introduces? Now read the stories, and finally, go back to the quote. Has anyone, ever, found language sufficient to express the emotions that rend us day and night?

"Killing Babies" is a work wrought with the volatile controversy of abortion rights. Initially it appears to be the work of a man who is purely pro-choice. Yet, upon closer inspection it actually does a fair job of presenting both sides of the issue, especially when the protagonist, Rick, executes one of the protestors, effectively lowering himself to the level of those that personally attack and harm abortion providers. What was your motivation for a story like this one? Were you hoping to make a statement regarding your own feelings on the abortion controversy?

I do not write stories with a political message. Any agenda an author may have should be saved for polemics or the campaign trail. I write stories in order to work out my own feelings about a subject, issue, emotion, scenario, and my stance on it must evolve along with the movement and characters of the story, otherwise I would produce false and shoddy goods. I do believe that an astute reader will apprehend precisely where I stand on every issue, but I'm not interested in waving flags. What grabs me about this story—"Killing Babies"—is the moral nullity of its narrator. He knows nothing of issues, only of blood and hate and what team he happens, by chance, to be on. And I love the story for its final lines, which continue to chill me every time I look at them.

The relationship between Achates and his father Tom in your story "Achates McNeil," although very similar to many young people's experiences with an estranged parent, have the added conflict of his father's fame as an author. Does this relationship in any way parallel the relationship that you have with your own family? Also, the character of Tom McNeil shares both your first name, and in some ways, your appearance and mode of dress. Why did you choose to portray the character in this way, especially since Tom McNeil is not the most sympathetic character in the story?

I wrote this story when my children were young, imagining the burdens they might have to carry as the progeny of a famous egomaniac, which is, I suppose, a pretty fair self-description. Do I empathize with them? Oh, yes, indeed—which is why the story is narrated from the point of view of the son. (And no, I'm not the father in the story, but I could have been.)

"The Love of My Life" is quite obviously based on the State of Delaware's case against Amy Grossberg and Brian Peterson, the two college students charged with murder after abandoning their infant in a Dumpster immediately after Grossberg gave birth in a motel room. What was it about this case that compelled you to explore it in a fictional narrative?

I had heard of the case in passing, as well as another similar case (the Prom Mom) that occurred around that time. As often happens in my stories I began with the why—why might this have happened and what does it mean? I was fortunate with the story, in that it turned out to be one of the gems of the collection, passionate and heartbreaking. We've all been in love. We've all been in that motel room. And we've all made our choices.

In all of your work, the names of your characters seem to be chosen to convey a certain personality trait or quality of the character, such as the character of Hart Simpson in the twenty-first-century love story "Peep Hall." How much time and thought do you put into this choice? Do these names more often occur to you spontaneously, or do the characters seem to produce their own names as you create them?

Again, such interpretive questions should best be left to the readers of the world. Certainly many of my characters have names that echo or imply something about them, but when this is the case, it is a happy accident (or, rather, the inspiration of the moment). It would seem artificial, I think, to push the characters' names too firmly in an allegorical direction, unless, of course, allegory is your intention. Better to let them resonate, and seem real.

"My Widow" at first appears to be a fairly commonplace description of an elderly widowed woman and her lifestyle—the ordinary (going to the shopping mall) and extraordinary alike (thwarting a burglary attempt). Yet it's written with the attentive sensitivity and empathy of someone who truly understands this woman's situation. Is this merely a composite sketch of an elderly woman, or is it based on an acquaintance of yours? Or is this a case of the author looking into the future to evoke what may happen to your loved ones after your own death?

Are you kidding? A composite sketch of an elderly woman? Again, mon Dieu! I live with her—have lived with her for most of my natural life, at least that part of it after which I was pronounced an adult by the authorities at large. There is love in the story, no doubt, and sweetness too, but it is tempered, I think by a certain satiric edge as well (you will notice that I gave her a second husband...but he doesn't last long, does he?). The piece first appeared in The New Yorker on Valentine's Day, and it brought me more mail than any story I've ever published. All the people who wrote me chose to see the story in its essential garment of sweetness and concern. And I guess I'd better leave it at that.

In both "The Black and White Sisters" and "The Underground Gardens," the characters are altering the classical sense of home to suit their own needs, despite being thought bizarre by the (less-enlightened?) population that surrounds them. While it is true that everyone's home is modified to one's own needs and specifications, many of the homes that appear in your books are wildly extreme in their modifications. This convention reoccurs in many of your stories and novels, recently manifested as Sierra's tree in A Friend of the Earth. What is it about this ideal of home that appeals to you? Is your own home infused with your personal philosophy?

Good question. I suppose I am interested in the futility of our lives, in which we alter the environment, raise our children, build our homes, and go to the dentist, only to give it up in a rotting heap of flesh, tied forever to the earth. I know it's futile. I know everything is hopeless. And yet I can't help going on, as if I were a character in a Beckett play.

Of late, you've had a very strong theme of looming ecological disaster. For example, the world you visualized in A Friend of the Earth was one destroyed by the greenhouse effect and mass extinction of most of the mammal population, not excluding human beings. The world you visualize in the title story, "After the Plague," is one (nearly) wiped clean of the human species all together. Obviously, this view is not a very optimistic one for the future of the planet. What is your actual view of the Earth twenty years in the future? How about one hundred years in the future? Do you think that our efforts to "Save the Planet" are actually steps taken in the right direction to reverse the damage we've done, or is it truly too late for us?

Though the collection in which "After the Plague" appears was published a year after A Friend of the Earth, the story precedes and in a way prefigures the novel. As many readers will know, I have been obsessed with our animal origins, with Darwin, with the environment, from the beginning of my career. (My first collection, published in 1979, was Descent of Man, and the title story opens with the immortal line, "I was living with a woman who suddenly began to stink." And why? Because she is working very closely with a colony of apes, as a researcher.) So, in short, yes, I am environmentally concerned, and no, I don't have any hope. With A Friend of the Earth, I went around the world on my book tours, depressing the hell out of people, while at the same time making them laugh, of course. The only hope I could come up with, and this after a long evening of reading excerpts and taking questions, is a program I'd like to initiate. It's very simple: if we can all of us on the earth, and no cheating, please, agree to refrain from sex for one hundred years, the problem will be solved.

There's been a terrific buzz about your new novel Drop City. Can you tell us a bit about it?

Yes, there has—more so, in fact, than for any of my books thus far. I don't really know how to account for that, beyond saying that I've put my usual effort, not to mention heart, soul, and seat of the pants into it, unless, perhaps, it's the era and subject people are warming to. This book is an outgrowth both of the first story in After the Plague ("Termination Dust," set in Alaska, and it is referenced in Drop City) and A Friend of the Earth. If I went twenty-five years into the future to examine the environment in that book, now, in Drop City, I reverse thirty years to 1970 and the back-to-the-earth movement of that period. Yes, folks: read hippies. The ethic then, when there were a mere four and a half billion of us on earth, was to reject the product- and technology-dominated society we've all grown up in and go back to the basics, to live simply, to live off the land in a Thoreauvian way. Was that possible then? Is it possible now? That is what Drop City is about. It takes a group of hippies—the Drop City commune— and transports them to the last and final place on the continent, Alaska, where they come into prodigious contact with the locals, who also desire to live close to the earth. The result, if I've got it right, should be a kind of feast for the reader's imagination.

DISCUSSION QUESTIONS

  1. Alaska is one of this country's last unspoiled areas. Needless to say, there's not much of a chance for dating when most of the roads to your already slimly populated town are impassible for most of the year. In "Termination Dust," Ned chases Jordy miles into the wilderness to rescue her from her captor, Bud. Why do you believe he does this? Ned claims "for all intents and purposes, Bud had abducted her," but when he arrives at the cabin, it is obvious that Jordy is there of her own free will. Why does Ned then carry through with his plan? Does he drive himself mad with love for Jordy, or is it a case of righteous indignation at the thought that Bud may have stolen his last chance at companionship?
  2. The relationship between Paula and Jason in "She Wasn't Soft" seems to be based on the old axiom that opposites attract. Yet, Jason does not seem to be very supportive of Paula's goals. Instead, it appears as if he is there only to sabotage, going so far as to drug her merely yards from a finish line, moments from beating her sworn enemy. Why do you believe he would do this? What kind of motivation can you find in the characterization of he and Paula's relationship that would make his actions believable?
  3. The premise of "Killing Babies" is very much a hot button topic in society today. There is a constant threat of violence surrounding abortion providers and many fear for their lives as colleagues are murdered. Rick reacts to violent protesters in a violent fashion. Do you believe that there is a double-standard today on each side of the abortion debate? Do you believe the media would treat a pro-choice activist who murders a pro-life activist exactly the same way as a pro-life activist who murders a pro-choice activist? If not, which do you believe would be vilified more? Would this decision be dependent on the climate of the area in which you reside?
  4. In "Captured by Indians" the gory American Indian stories Melanie is reading from a worn paperback are intriguingly juxtaposed with her own predicament—she is pregnant with a child her partner will not want. What comparisons can be drawn between the stories and her own life? Reread the last paragraph of the story. Does Melanie see her own child as being a potential victim of an "Indian brave"? Who is this unaccountable threat?
  5. "Achates McNeil" is a poignant tale of a college-age boy pursued by a celebrity novelist—the father he never knew. It must be difficult to define yourself as a young man while living in the shadow of apparent greatness, and Achates goes so far as to lie about his birthright to avoid being lumped in with his father's genius. What is it that allows Achates to come to terms with his father? What do you think snapped inside him when he walked out of his father's reading? Do you believe that he's broken off with his absentee father for good? Or does he only identify with him more?
  6. When reading "The Love of My Life," you cannot help but think of the young couple accused and tried for the same crime only a few years ago. What is interesting about Boyle's story is the way it is approached—with apparent sympathy for the parties involved. Does this personification of people we would normally classify immediately as monsters affect your own feelings regarding this kind of crime? Can we also sympathize with these two young people while still condemning the crime they committed? Did you?
  7. On the surface "Going Down" is a modest story of a man engrossed in a book. Yet, John is so engrossed that when his son shows up from Plattsburgh in the middle of a snowstorm, he barely greets him, and the fact that his wife has been missing since noon only makes him furrow his brow for a moment. Why is John unable to release himself from the story within the pages of that book? Do you think he identifies with the character of Don Fausto? If so, what is it about that man's plight and John's life that leads him to form such an intensely unbreakable bond with the novel?
  8. "The Black and White Sisters" is an odd tale of two women who wanted a world "where everything turned out right in the end." Moira and Caitlin desire a life much like the one shown in the black and white programs of the fifties and sixties, down to the lack of color. Would you consider this story a parable, a call to return our own world to one of simplicity? Do you think that a world such as the one Moira and Caitlin is truly simpler, or only less colorful?
  9. Edison Banks, the protagonist of "Death of the Cool," was a minor rock star in the eighties who managed to fare a little better in television in the nineties, allowing him the luxury of living in a California beach town with a small fleet of expensive foreign cars and a maid. Apparently, his small fortune has not done much for his bitter cynicism and has definitely done nothing to quell his raging ego. Yet, he is chased off the beach by a group of teenage hoodlums, shot down by a woman in a bar at four in the afternoon, and nearly robbed by the "discerning burglar." And throughout it all, Banks still feels that this is a true affront to his sparkling past. Do you believe that this is an accurate portrayal of a mid-life crisis? When we turn into "pathetic old guys," as Banks says, is there an inevitable fight to retain your youthfulness—fast cars, facelifts, etc, or is it impossible to grow old gracefully since the death of our own cool is too much to bear without the Aston Martin and the top shelf margarita?
  10. Imagine a world as described by Boyle in "After the Plague." Despite the entire population of the world being wiped out, the protagonist appears to be ready to carry on with his life, just as before, without the dating. Sarai reacts with a little less patience, refusing to believe that the world as she knew it has disappeared. You could consider the protagonist to be cold and unfeeling for being able to just pick up and move on, but, on the other hand, you could also consider him brave for venturing out into this new world. Hypothetically, how do you think you would react if you were just one of a few people left on earth?

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  • Anonymous

    Posted February 21, 2005

    Green With Envy

    Boyle's After the Plague made my soul envious of this story and eager to read more of his works. The story is so simple that it makes one want to have crafted it one's self. Alternately horrifying and amusing to the point of surprised laughter out loud. I heartily recommend this title and this author; what a connoisseurial treat!

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  • Anonymous

    Posted May 13, 2002

    Boyle Hits Home Run!

    T. Coraghessan Boyle flaunts his witty word usage and blunt, hard, plots in his collection After the Plague. Boyle is the master of the unique phrases. This book deserves to be read.

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  • Anonymous

    Posted November 24, 2001

    TC BOYLE GENIUS

    Once again, TC Boyle shows his mastery of writing. Each story completely draws the reader in hook line and sinker. Every story in the book is awesome. 'Going Down' is a veritable masterpiece. If you're a Boyle fan you won't be disappointed.

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  • Anonymous

    Posted October 22, 2001

    A Stunning Collection

    I've got to go with The Love of My Life as my favorite story in this knock-out collection. If you'll forgive the oxymoron, I think it's a tour de force in miniature; one of those golden feats where style, character, structure and tone all come together. Just look at the way the 'socks' reappear a few paragraphs after the opening line, this time not as simile but physical detail. (Who hasn't ever skated in their socks?) Or the way the screen villain's meat hook transmogrifies into 'so much cold meat.' Once we're hit with the infanticide, of course, the imagery follows suit. The judge's arms like 'bones twirled in a bag'; or a 'rinsed out sun'. All of this is to say nothing of the characters, mind you. How do you portray an unwitting teen delinquent with as much resentment as devotion for his lover? With a knock-out of a line like 'But why did she have to be so stupid?' of course. The story's laid out and narrated like some post-modern fairy tale: one can almost hear the implicit 'meanwhiles' between POV shifts, all perfectly timed. And the 'moral' -- 'as if that were all that mattered.' Man, if the inadequacy of love -- teen or otherwise -- has ever been as potently rendered on such a small canvas, please, someone, give me the author and story title.

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  • Anonymous

    Posted September 12, 2001

    The Best Boyle Collection Yet!

    I have always been a big Boyle fan, and lots of these stories have already appeared in the New Yorker, but I have to say: in my opinion this is his best collection. The stories are shocking, contemporary, playful, funny and tragic -- typical Boyle at his finest. From the weirdness of 'The Black and White Sisters,' a twisted and sexy story about eccentric twins who will only surround themselves, in food, clothes, and company, with the colors black & white, which is surreal and funny and sad and has echoes of old TV and grim newspapers, to 'She Wasn't Soft,' or 'Termination Dust,' both of which are creepy, heartbreaking suspense stories which focus on grim character pieces and strong plot points, Boyle had me hooked from page one. If you like unforgettable characters, strong plot and contemporary issues, this is a must read. Plus it¿s funny. Five Stars! Bravo!

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  • Anonymous

    Posted October 25, 2008

    No text was provided for this review.

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