A master chronicler of our life and times." —Newsday
"A very funny book. . . . If Jane Austen had been crossed with Oscar Wilde and re-crossed with the early Evelyn Waugh, and the result plonked down among the semi-beautiful people of late 20th-century media-fringe America . . . the outcome might have been...
A master chronicler of our life and times." —Newsday
"A very funny book. . . . If Jane Austen had been crossed with Oscar Wilde and re-crossed with the early Evelyn Waugh, and the result plonked down among the semi-beautiful people of late 20th-century media-fringe America . . . the outcome might have been something like this." —Margaret Atwood
"Ferociously funny." —The Los Angeles Times
"Beattie's new novel, her third, is a gratifying surprise. Love Always will be welcomed by the large and loyal Beattie readership, but there is much that recommends it to the previously unconverted." —Harper's Bazaar
"Beattie's most comic—indeed her first satiric—work to date. . . . Much of the book's authenticity derives from the accretion of felt detail—a Beattie trademark. She captures 1984 Vermont with right-on references to Cyndi Lauper, Horchow catalogs, and 'pre-Cabbage Patch' Coleco." —The Christian Science Monitor
"Her most comic novel thus far. . .raises serious questions about the nature of love." New York Times Book Review
Lacking the elements that distinguish Beattie's earlier novels, Love Always relies instead on transparent and relentless use of her several stylistic idiosyncracies. The results are stereotyped characters and situations. ``Bleak and unconvincing,'' PW found. (August)
"This novel is sadder than satire, for it is about the emptiness not of these lives but of our lives." -- The New Yorker
"Through Beattie's agency we are brought within sufficient sympathetic distance that our empathy is engaged. And that is how most good writing begins to achieve the level of literature." -- Esquire
"A very funny book....If Jane Austen has been crossed with Oscar Wilde and Re-Crossed with the early Evelyn Waugh, and the result plunked down among the semi-beautiful people of the late 20th-century media-fringe America...the outcome might have been something like this." -- The Chicago Sun Times
"Flatly a brilliant concoction....Like Jane Austen, Beattie rides the surface of her character's lives with an amazing agility....She's funnier than ever." -- The Dallas Morning News
"Anne Beattie has filed yet another anthropologist report on a certain part of America, warts and all. Every bit of it is good entertainment -- especially the words." -- The Detroit News
To many readers, Ann Beattie was the diarist for a whole cross-section of American society. Wryly chronicling the confusion and disillusionment of a generation stuck with the free-love era's hangover, the prolific short story writer and novelist set the tone for coming of age in the '70s and after.
After publishing several stories in The New Yorker, Ann Beattie burst on the literary scene in 1976 with not one, but two books -- a collection of short fiction entitled Distortions and a critically acclaimed debut novel, Chilly Scenes of Winter. Almost immediately, she was proclaimed the unofficial diarist of an entire generation, evoking the lives of feckless, young, middle-class baby boomers who came of age in the 1960s yet never really grew up, choosing instead to lug around their dashed expectations like so much excess baggage.
Indeed, Beattie's fiction is filled with such unhappy characters -- intelligent, well-educated people whose lives are steeped in disappointment and a vague sense of despair. Failed relationships, nostalgia for the past, and the inability to reconcile youthful idealism with the demands of adult life are recurring themes in short story collections like Secrets and Surprises (1978), What Was Mine (1991), and Park City (1998), as well as novels such as Falling in Place (1981), Love Always (1985), and Another You (1995).
Yet, Beattie vehemently denies that she set out to chronicle an era or to describe a particular demographic. ''I do not wish to be a spokesperson for my generation,'' she told The New York Times in 1985. She explained further (in the literary magazine Ploughshares) that she simply wrote about the people who surrounded her -- refugees from the '60s, bewildered by the real world and longing to return to the seductive counterculture of sex, drugs, and rock 'n' roll.
A writer of spare, elegant, whip-smart prose, Beattie has been classified as a minimalist, a label she rejects as reductive. In many ways, though, her writing fits the bill. Her stories, like those of minimalism's famous poster boy (and Beattie's good friend) Raymond Carver, are composed of simple, declarative sentences teeming with irony and finely observed detail; also like Carver, she is a nonjudgmental narrator, completely detached from her characters and their actions and meting out contextual clues to be interpreted by the reader. However, as she has matured as a writer, she has traded in strict minimalism for a more realistic style, endowing her characters with emotions (and something of an inner life!) and rendering her fiction more fully "human."
Occasionally, Beattie has come under attack for loading her stories with brand names and pop culture references. But even this use of "Kmart realism" seems not to have dimmed her light. Reviewing her 2008 anthology Follies for The New York Times, David Means had this to say: "[W]hen Beattie's work is clicking her stories are wonderful to behold. Her best work ... will endure long after so much of what we know now -- the brand names, television shows and quick-shop stores -- is gone."
Good To Know
Beattie's first novel, Chilly Scenes of Winter, was adapted into a film by Joan Micklin Silver starring John Heard and Mary Beth Hurt. It was first released in 1979 as Head Over Heels with an unsatisfying, tacked-on happy ending. Audiences were lukewarm. In 1982, the movie was re-released under the novel's title and with an ending that matched the book. This version was a success.
Beattie is married to the painter Lincoln Perry. In 2005 the two collaborated on a retrospective of Perry's paintings entitled Lincoln Perry's Charlottesville, boasting a long essay and interview by Beattie.