After the Plagueby T. C. Boyle
Hailed as one of the best short story writers of his generation, T.C. Boyle presents sixteen storiesnine of which appeared in The New Yorkerthat 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/i>/i>… See more details below
Hailed as one of the best short story writers of his generation, T.C. Boyle presents sixteen storiesnine of which appeared in The New Yorkerthat 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.
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.
- Penguin Publishing Group
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- Product dimensions:
- 5.08(w) x 7.78(h) x 0.60(d)
- Age Range:
- 18 Years
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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!
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.
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.
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.
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!