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Overview
At every stage in his career, Michaels produced taut, spare tales of sex, love, and other adult intimacies: gossip, argument, friendship, guilt, rage. A fearless writer—"destructive, joyful, brilliant, purely creative," in the words of John Hawkes—Michaels probed his characters' motivations with brutal humor and startling frankness; his ear for the vernacular puts him in the company of Philip Roth, Grace Paley, and Bernard Malamud. Remarkable for its compression and cadences, his prose is nothing short of addictive.
The Collected Stories is a landmark.
"Leonard Michaels's stories stand alongside those of his best Jewish contemporaries — Grace Paley and Philip Roth." — Mona Simpson, The New York Times Book Review
Product Details
| ISBN-13: | 9780374531294 |
|---|---|
| Publisher: | Farrar, Straus and Giroux |
| Publication date: | 07/08/2008 |
| Edition description: | First Edition |
| Pages: | 416 |
| Product dimensions: | 5.40(w) x 8.20(h) x 1.20(d) |
About the Author
Read an Excerpt
the collected stories
By LEONARD MICHAELS
FARRAR, STRAUS AND GIROUX
Copyright © 2007 Katharine Ogden MichaelsAll right reserved.
ISBN: 978-0-374-12654-4
Chapter One
manikin
AT THE UNIVERSITY SHE MET A TURK who studied physics and spoke foreigner's English which in every turn expressed the unnatural desire to seize idiom and make it speak just for himself. He worked nights as a waiter, summers on construction gangs, and shot pool and played bridge with fraternity boys in order to make small change, and did whatever else he could to protect and supplement his university scholarship, living a mile from campus in a room without sink or closet or decent heating and stealing most of the food he ate, and when the University Hotel was robbed it was the Turk who had done it, an act of such speed the night porter couldn't say when it happened or who rushed in from the street to bludgeon him so murderously he took it in a personal way. On weekends the Turk tutored mediocrities in mathematics and French ...
He picked her up at her dormitory, took her to a movie, and later, in his borrowed Chevrolet, drove her into the countryside and with heavy, crocodilean sentences communicated his agony amid the alien corn. She attended with quick, encouraging little nods and stared as if each word crept past her eyes and she felt power gathering in their difficult motion as he leaned toward her and with lips still laboring words made indelible sense, raping her, forcing her to variations of what she neverheard of though she was a great reader of avant-garde novels and philosophical commentaries on the modern predicament ...
In the cracking, desiccated leather of the Chevrolet she was susceptible to a distinction between life and sensibility, and dropped, like Leda by the swan, squirming, arching, so as not to be touched again, inadvertently, as he poked behind the cushions for the ignition key. She discovered it pulling up her pants and, because it required intelligent speech inconsistent with her moaning, couldn't bring it to his attention; nor would she squat, winding about in her privates, though she hated to see him waste time bunched up twisting wires under the dashboard.
Despite her wild compulsion to talk and despite the frightened, ravenous curiosity of her dormitory clique, whom she awakened by sobbing over their beds, Melanie wasn't able to say clearly what finished happening half an hour ago. She remembered the Turk suddenly abandoned English and raved at her in furious Turkish, and she told them about that and about the obscene tattoo flashing on his chest when she ripped his shirt open, and that he stopped the car on a country road and there was a tall hedge, maples, sycamores, and a railroad track nearby, and a train was passing, passing, and passing, and beyond it, her moans, and later an animal trotting quickly on the gravel, and then, with no discontinuity, the motor starting its cough and retch and a cigarette waving at her mouth already lighted as if the worst were over and someone had started thinking of her in another way.
The lights of the university town appeared and she smoked the cigarette as the car went down among them through empty streets, through the residential area of the ethical, economic community and twisted into the main street passing store after store. She saw an armless, naked manikin and felt like that, or like a thalidomide baby, all torso and short-circuited, and then they were into the streets around campus, narrow and shaky with trees, and neither of them said a word as he shifted gears, speeding and slowing and working the car through a passage irregular and yet steady, and enclosed within a greater passage as tangible as the internal arcs of their skulls. At the dormitory he stopped the car. She got out running.
Quigley, Berkowitz, and Sax could tell that Melanie Green had been assaulted with insane and exotic cruelty: there were fingerprints on her cheeks the color of tea stains and her stockings hung about her ankles like Hamlet's when he exposed himself to Ophelia and called her a whore. So they sucked cigarettes and urged her to phone the Dean of Women, the police, and the immigration authorities, as if disseminating the story among representatives of order would qualify it toward annihilation or render it accessible to a punitive response consistent with national foreign policy. Though none of them saw positive value in Melanie's experience it was true, nevertheless, in no future conversation would she complain about being nineteen and not yet discovered by the right man, as it happened, to rape with. Given her face and legs, that had always seemed sick, irritating crap, and in the pits of their minds, where there were neither words nor ideas but only raging morality, they took the Turk as poetic justice, fatal male, and measure for measure. Especially since he lived now in those pits vis-à-vis Melanie's father, a bearded rabbi with tear bags. "What if your father knew?" asked Quigley, making a gesture of anxious speculation, slender hands turned out flat, palms up, like a Balinese dancer. Melanie felt annoyed, but at least Quigley was there, sticking out her hands, and could be relied on always to be symbolic of whatever she imagined the situation required.
She didn't tell the rabbi, the Dean of Women, police, or immigration authorities, and didn't tell Harry Stone, her fiancé, with whom she had never had all-the-way sexual intercourse because he feared it might destroy the rhythm of his graduate work in Classics. But once, during Christmas vacation, she flew East to visit him, and while standing on a stairway in Cambridge, after dinner and cognac, he let her masturbate him and then lay in bed beside her, brooding, saying little except "I feel like Seymour," and she answering, "I'm sorry." Quigley, Berkowitz, and Sax called him "Harry the fairy," but never in the presence of Melanie, who read them his letters, brilliantly exquisite and full of ruthless wit directed at everything, and the girls screamed and could hardly wait till he got his degree and laid her. "It'll be made of porcelain," said Sax, and Melanie couldn't refute the proposition (though the girls always told her everything they did with their boyfriends and she owed them the masturbation story) because they were too hot for physiology and wouldn't listen to the whole story, wouldn't hear its tone or any of its music. They were critical, sophisticated girls and didn't dig mood, didn't savor things. They were too fast, too eager to get the point.
She didn't tell the rabbi or any other authority about the rape, and wouldn't dream of telling Harry Stone because he tended to become irrationally jealous and like homosexual Othello would assume she had gone out with armies of men aside from the Turk, which wasn't true. The Turk had been a casual decision, the only one of its kind, determined by boredom with classes and dateless weekends, and partly by a long-distance phone call to Harry Stone in the middle of the night when she needed his voice and he expressed irritation at having been disturbed while translating a difficult passage of Thucydides for a footnote in his dissertation. Furthermore the Turk was interesting-looking, black eyes, a perfect white bite of teeth between a biggish nose and a cleft chin, and because he was pathetic in his tortuous English going out with him seemed merely an act of charity indifferently performed and it was confirmed as such when he arrived in the old Chevrolet and suggested a cowboy movie. He held the door open for her, which she could never expect Harry to do, and he tried to talk to her. To her, she felt-though it was clear that his effort to talk depended very much on her effort to listen.
She went to parties on the two weekends following the rape and sat in darkened rooms while a hashish pipe went around and said things too deep for syntax and giggled hysterically, and in the intimate delirium of faces and darkness asked how one might get in touch with an abortionist if, perchance, one needed one. She didn't talk about the rape but remembered the Turk had held her chin and she felt guilty but resistless and saw that his eyes didn't focus and that, more than anything, lingered in her nerves, like birds screaming and inconsummate. She asked her clique about the signs of pregnancy, then asked herself if she wasn't peeing more than usual. It seemed to spear down very hot and hard and longer than before, but she ascribed it to sphincters loosened upon the violent dissolution of the veil between vaginal post and lintel. When she asked the girls about an abortionist they laughed maniacally at the idea that any of them might know such a person, but, one at a time, appeared in her room to whisper names and telephone numbers and tell her about the different techniques and the anesthetic she might expect if the man were considerate or brave enough to give her one. "They're afraid of the cops," said Sax, a tough number from Chicago who had been knocked up twice in her freshman year. "They want you out of the office as soon as possible."
Harry surprised her by coming to town during his intersession break and she was so glad to see him she trembled. She introduced him to her house mother and her clique and he ate dinner with her in the dormitory the first night. The next day he went to classes with her and that evening they ate in the best restaurant in town, which wasn't nearly as good as some Harry knew in the East but it was pretty good, and then they walked in the Midwestern twilight, watching swallows, listening to night hawks whistle, and she felt an accumulation of sympathy in the minutes and the hours, which became an urge, a possibility, and then a strong need to tell him, but she chatted mainly about her clique and said, "Quigley has funny nipples and Berkowitz would have a wonderful figure except for her thighs, which have no character. I love Sax's figure. It's like a skinny boy's." Harry made an indifferent face and shrugged in his tweeds, but quick frowns twitched after the facts and she went on, encouraged thus, going on, to go on and on. In his hotel room they had necking and writhing, then lay together breathless, tight, indeterminate, until he began talking about his dissertation. "A revolution in scholarship. The vitiation of many traditional assumptions. They say I write uncommonly well." She told him about the rape. He sat up with words about the impossibility of confidence, the betrayal of expectations, the end of things. He was amazed, he said, the world didn't break and the sky fall down. As far as he was concerned the ceremony of innocence was drowned. While he packed she rubbed her knees and stared at him. He noticed her staring and said, "I don't like you."
Wanda Chung was always in flight around corners, down hallways, up stairs, into bathrooms, and never spoke to people unless obliged to do so and then with fleeting, terrified smiles and her eyes somewhere else. She appeared at no teas or dances, received no calls and no boys at the reception desk, and Melanie and her clique gradually came to think of her as the most interesting girl in the dormitory. One afternoon after classes they decided to go to her room and introduce themselves. She wasn't in so they entered the room and while waiting for her casually examined her closet which was packed with dresses and coats carrying the labels of good stores in San Francisco. Under her bed there were boxes of new blouses and sweaters, and they discovered her desk drawers were crammed with candy and empty candy wrappers. They left her room, never returned, and never again made any effort to introduce themselves to her, but Wanda, who for months had harbored a secret yearning to meet Melanie, decided, the day after Harry Stone left town, to go to Melanie's room and present herself: "I am Wanda Chung. I live downstairs. I found this fountain pen. Could it be yours?" She bought a fountain pen and went to Melanie's room and an instant after she knocked at the door she forgot her little speech and her desire to meet Melanie. The door gave way at the vague touch of her knuckles and started opening as if Wanda herself had taken the knob and turned it with the intention of getting into the room and stealing something, which is how she saw it, standing there as the door unbelievably, remorselessly, opened, sucking all motion and feeling out of her limbs and making her more and more thief in the possible eyes of anyone coming along. And then, into her dumb rigidity, swayed naked feet like bell clappers. She saw Melanie Green hanging by the neck, her pelvis twitching. Wanda dashed to the stairs, down to her room, and locked herself inside. She ate candy until she puked in her lap and fell asleep ...
When the Turk read about the suicide he said in a slow, sick voice, "She loved me." He got drunk and stumbled through the streets looking for a fight, but bumping strangers and firing clams of spit at their feet wasn't sufficiently provocative, given his debauched and fiercely miserable appearance, to get himself punched or cursed or even shoved a little. He ended the night in a scrubby field tearing at an oak tree with his fingernails, rolling in its roots, hammering grass, cursing the sources of things until, in a shy, gentle way, Melanie drifted up out of the dew. He refused to acknowledge her presence but then couldn't tolerate being looked at in silence and yelled at her in furious Turkish. She came closer. He seized her in his arms and they rolled together in the grass until he found himself screaming through his teeth because, however much of himself he lavished on her, she was dead.
Chapter Two
city boy
"PHILLIP," SHE SAID, "THIS IS CRAZY."
I didn't agree or disagree. She wanted some answer. I bit her neck. She kissed my ear. It was nearly three in the morning. We had just returned. The apartment was dark and quiet. We were on the living-room floor and she repeated, "Phillip, this is crazy." Her crinoline broke under us like cinders. Furniture loomed all around-settee, chairs, a table with a lamp. Pictures were cloudy blotches drifting above. But no lights, no things to look at, no eyes in her head. She was underneath me and warm. The rug was warm, soft as mud, deep. Her crinoline cracked like sticks. Our naked bellies clapped together. Air fired out like farts. I took it as applause. The chandelier clicked. The clock ticked as if to split its glass. "Phillip," she said, "this is crazy." A little voice against the grain and power. Not enough to stop me. Yet once I had been a man of feeling. We went to concerts, walked in the park, trembled in the maid's room. Now in the foyer, a flash of hair and claws. We stumbled to the living-room floor. She said, "Phillip, this is crazy." Then silence, except in my head, where a conference table was set up, ashtrays scattered about. Priests, ministers, and rabbis were rushing to take seats. I wanted their opinion, but came. They vanished. A voice lingered, faintly crying, "You could mess up the rug, Phillip, break something ..." Her fingers pinched my back like ants. I expected a remark to kill good death. She said nothing. The breath in her nostrils whipped mucus. It cracked in my ears like flags. I dreamed we were in her mother's Cadillac, trailing flags. I heard her voice before I heard the words. "Phillip, this is crazy. My parents are in the next room." Her cheek jerked against mine, her breasts were knuckles in my nipples. I burned. Good death was killed. I burned with hate. A rabbi shook his finger: "You shouldn't hate." I lifted on my elbows, sneering in pain. She wrenched her hips, tightened muscles in belly and neck. She said, "Move." It was imperative to move. Her parents were thirty feet away. Down the hall between Utrillos and Vlamincks, through the door, flick the light and I'd see them. Maybe like us, Mr. Cohen adrift on the missus. Hair sifted down my cheek. "Let's go to the maid's room," she whispered. I was reassured. She tried to move. I kissed her mouth. Her crinoline smashed like sugar. Pig that I was, I couldn't move. The clock ticked hysterically. Ticks piled up like insects. Muscles lapsed in her thighs. Her fingers scratched on my neck as if looking for buttons. She slept. I sprawled like a bludgeoned pig, eyes open, loose lips. I flopped into sleep, in her, in the rug, in our scattered clothes.
Dawn hadn't shown between the slats in the blinds. Her breathing sissed in my ear. I wanted to sleep more, but needed a cigarette. I thought of the cold avenue, the lonely subway ride. Where could I buy a newspaper, a cup of coffee? This was crazy, dangerous, a waste of time. The maid might arrive, her parents might wake. I had to get started. My hand pushed along the rug to find my shirt, touched a brass lion's paw, then a lamp cord.
A naked heel bumped wood.
She woke, her nails in my neck. "Phillip, did you hear?" I whispered, "Quiet." My eyes rolled like Milton's. Furniture loomed, whirled. "Dear God," I prayed, "save my ass." The steps ceased. Neither of us breathed. The clock ticked. She trembled. I pressed my cheek against her mouth to keep her from talking. We heard pajamas rustle, phlegmy breathing, fingernails scratching hair. A voice, "Veronica, don't you think it's time you sent Phillip home?"
(Continues...)
Excerpted from the collected stories by LEONARD MICHAELS Copyright © 2007 by Katharine Ogden Michaels. Excerpted by permission.
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