Vintage Munro

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WINNER OF THE NOBEL PRIZE® IN LITERATURE 2013

Vintage Readers are a perfect introduction to some of the greatest modern writers presented in attractive, accessible paperback editions.

“In Munro’s hands, as in Chekhov’s, a short story is more than big enough to hold the world—and to astonish us again and again.” —Chicago Tribune

In an unbroken procession of brilliant, revelatory short stories, Alice Munro ...

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Overview

WINNER OF THE NOBEL PRIZE® IN LITERATURE 2013

Vintage Readers are a perfect introduction to some of the greatest modern writers presented in attractive, accessible paperback editions.

“In Munro’s hands, as in Chekhov’s, a short story is more than big enough to hold the world—and to astonish us again and again.” —Chicago Tribune

In an unbroken procession of brilliant, revelatory short stories, Alice Munro has unfolded the wordless secrets that lie at the heart of all human experience. She has won three Governor General’s Literary Awards in her native Canada, as well as the National Book Critics Circle Award.

Vintage Munro includes stories from throughout her career: The title stories from her collections The Moons of Jupiter; The Progress of Love; Hateship, Friendship, Courtship, Loveship, Marriage; “Differently,” from Selected Stories, and “Carried Away,” from Open Secrets.

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Editorial Reviews

From the Publisher
Praise from fellow writers:

“Her work felt revolutionary when I came to it, and it still does.” —Jhumpa Lahiri

“She is one of the handful of writers, some living, most dead, whom I have in mind when I say that fiction is my religion.” —Jonthan Franzen

“The authority she brings to the page is just lovely.” —Elizabeth Strout

“She’s the most savage writer I’ve ever read, also the most tender, the most honest, the most perceptive.” —Jeffery Eugenides

“Alice Munro can move characters through time in a way that no other writer can.”—Julian Barnes

“She is a short-story writer who…reimagined what a story can do.” —Loorie Moore

“There’s probably no one alive who’s better at the craft of the short story.” —Jim Shepard

“A true master of the form.” —Salman Rushdie

“A wonderful writer.” —Joyce Carol Oates

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Product Details

  • ISBN-13: 9781400033959
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 1/6/2004
  • Series: Vintage Original Series
  • Pages: 208
  • Product dimensions: 5.14 (w) x 8.02 (h) x 0.54 (d)

Meet the Author

Alice Munro

Alice Munro grew up in Wingham, Ontario, and attended the University of Western Ontario. She has published thirteen collections of stories as well as a novel, Lives of Girls and Women, and two volumes of Selected Stories. During her distinguished career she has been the recipient of many awards and prizes, including three of Canada’s Governor General’s Literary Awards and two of its Giller Prizes, the Rea Award for the Short Story, the Lannan Literary Award, England’s W. H. Smith Book Award, the National Book Critics Circle Award, and the Man Booker International Prize. In 2013 she was awarded the Nobel Prize for Literature. Her stories have appeared in The New Yorker, The Atlantic Monthly, The Paris Review, Granta, and other publications, and her collections have been translated into thirteen languages. She lives in Clinton, Ontario, near Lake Huron. 

Biography

Even though Alice Munro is known for her love stories, don't mistake her for just another romance writer. Munro never romanticizes love, but rather presents it in all of its frustrating complexity. She does not feel impelled to tack happy endings onto her tales of heartbreak and healing. As a result, Munro's wholly credible love stories have marked her as a true original who spins stories that are as honest as they are dramatic.

Alice Munro got her start in writing as a teenager in Ontario, and published her first story while attending Western Ontario University in 1950. Her first book, a collection of short stories titled Dance of the Happy Shades, would not be published until 1968, but when it arrived, Munro rapidly established herself as a unique voice in contemporary literature. Over the course of fifteen short stories, Munro displayed a firmly focused vision, detailing the loves and life-altering moments of the inhabitants of rural Ontario. Munro takes a gradual, methodical approach to unraveling her stories, often developing a character's perspective through several paragraphs, only to demolish it with a single, biting sentence. Yet she also explores those heartbreaking delusions of her characters with humanity, undercutting the bitterness with genuine compassion.

Munro was instantly recognized for her debut collection of stories, winning the prestigious Governor General's Award in Canada. Monroe would then spend the majority of her career writing short stories rather than novels. "I want to tell a story, in the old-fashioned way -- what happens to somebody -- but I want that 'what happens' to be delivered with quite a bit of interruption, turnarounds, and strangeness," she explained to Random House.com. "I want the reader to feel something is astonishing -- not the 'what happens' but the way everything happens. These long short story fictions do that best, for me." Munro would only write one novel, Lives of Girls and Women, a coming-of-age tale about a young girl named Del Jordan, which is actually structured more like a collection of short stories than a typical novel. Throughout the rest of her work, she would continue to explore themes of love and the way memories shape one's life in short story collections such as Friend of My Youth, Open Secrets, and the award-winning The Love of a Good Woman, and her most recent, Runaway.

Because her stories are so unencumbered by clichés and speak with such clarity and truthfulness, it is often assumed that Munro's work is largely autobiographical. The fact that she chooses to set so many of her tales in her hometown only fuel these assumptions further. However, Munro says that very little of her material is based on her own life, and takes a more creative approach to inventing her finely developed characters. "Suppose you have -- in memory -- a young woman stepping off a train in an outfit so elegant her family is compelled to take her down a peg (as happened to me once)," she explains, "and it somehow becomes a wife who's been recovering from a mental breakdown, met by her husband and his mother and the mother's nurse whom the husband doesn't yet know he's in love with. How did that happen? I don't know."

As Munro grows older, her themes are turning more and more toward illness and death, yet she continues to display a startling vitality and youthfulness in her writing. A writer with a long and celebrated career, Alice Munro's work is just as compelling, honest, and insightful as ever.

Good To Know

Munro dropped out of college in 1951 to marry fellow student James Munro. The couple opened a bookstore in Victoria, had three children, and divorced in 1972. Munro continues to live in Canada with her second husband, geographer Gerald Fremlin.

Munro wrote on a typewriter for a good part of her career, calling herself a "late convert to every technological offering" in a publisher's interview. "I still don't own a microwave oven," she says.

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    1. Hometown:
      Clinton, Ontario, and Comox, British Columbia
    1. Date of Birth:
      July 10, 1931
    2. Place of Birth:
      Wingham, Ontario, Canada
    1. Education:
      University of Western Ontario (no degree)

Read an Excerpt

THE MOONS OF JUPITER

I found my father in the heart wing, on the eighth floor of Toronto General Hospital. He was in a semi-private room. The other bed was empty. He said that his hospital insurance covered only a bed in the ward, and he was worried that he might be charged extra.

"I never asked for a semi-private," he said.

I said the wards were probably full.

"No. I saw some empty beds when they were wheeling me by."

"Then it was because you had to be hooked up to that thing," I said. "Don't worry. If they're going to charge you extra, they tell you about it."

"That's likely it," he said. "They wouldn't want those doohickeys set up in the wards. I guess I'm covered for that kind of thing."

I said I was sure he was.

He had wires taped to his chest. A small screen hung over his head. On the screen a bright jagged line was continually being written. The writing was accompanied by a nervous electronic beeping. The behavior of his heart was on display. I tried to ignore it. It seemed to me that paying such close attention-in fact, dramatizing what ought to be a most secret activity-was asking for trouble. Anything exposed that way was apt to flare up and go crazy.

My father did not seem to mind. He said they had him on tranquillizers. You know, he said, the happy pills. He did seem calm and optimistic.

It had been a different story the night before. When I brought him into the hospital, to the emergency room, he had been pale and closemouthed. He had opened the car door and stood up and said quietly, "Maybe you better get me one of those wheelchairs." He used the voice he always used in a crisis. Once, our chimney caught on fire; it was on a Sunday afternoon and I was in the dining room pinning together a dress I was making. He came in and said in that same matter-of-fact, warning voice, "Janet. Do you know where there's some baking powder?" He wanted it to throw on the fire. Afterwards he said, "I guess it was your fault-sewing on Sunday."

I had to wait for over an hour in the emergency waiting room. They summoned a heart specialist who was in the hospital, a young man. He called me out into the hall and explained to me that one of the valves of my father's heart had deteriorated so badly that there ought to be an immediate operation.

I asked him what would happen otherwise.

"He'd have to stay in bed," the doctor said.

"How long?"

"Maybe three months."

"I meant, how long would he live?"

"That's what I meant, too," the doctor said.

I went to see my father. He was sitting up in bed in a curtained-off corner. "It's bad, isn't it?" he said. "Did he tell you above the valve?"

"It's not as bad as it could be," I said. Then I repeated, even exaggerated, anything hopeful the doctor had said. "You're not in any immediate danger. Your physical condition is good, otherwise."

"Otherwise," said my father, gloomily.

I was tired from the drive-all the way up to Dalgleish, to get him, and back to Toronto since noon-and worried about getting the rented car back on time, and irritated by an article I had been reading in a magazine in the waiting room. It was about another writer, a woman younger, better-looking, probably more talented than I am. I had been in England for two months and so I had not seen this article before, but it crossed my mind while I was reading that my father would have. I could hear him saying, Well, I didn't see anything about you in Maclean's. And if he had read something about me he would say, Well, I didn't think too much of that write-up. His tone would be humorous and indulgent but would produce in me a familiar dreariness of spirit. The message I got from him was simple: Fame must be striven for, then apologized for. Getting or not getting it, you will be to blame.

I was not surprised by the doctor's news. I was prepared to hear something of the sort and was pleased with myself for taking it calmly, just as I would be pleased with myself for dressing a wound or looking down from the frail balcony of a high building. I thought, Yes, it's time; there has to be something, here it is. I did not feel any of the protest I would have felt twenty, even ten, years before. When I saw from my father's face that he felt it-that refusal leapt up in him as readily as if he had been thirty or forty years younger-my heart hardened, and I spoke with a kind of badgering cheerfulness. "Otherwise is plenty," I said.

The next day he was himself again.

That was how I would have put it. He said it appeared to him now that the young fellow, the doctor, might have been a bit too eager to operate. "A bit knife-happy," he said. He was both mocking and showing off the hospital slang. He said that another doctor had examined him, an older man, and had given it as his opinion that rest and medication might do the trick.

I didn't ask what trick.

"He says I've got a defective valve, all right. There's certainly some damage. They wanted to know if I had rheumatic fever when I was a kid. I said I didn't think so. But half the time then you weren't diagnosed what you had. My father was not one for getting the doctor."

The thought of my father's childhood, which I always pictured as bleak and dangerous-the poor farm, the scared sisters, the harsh father-made me less resigned to his dying. I thought of him running away to work on the lake boats, running along the railway tracks, toward Goderich, in the evening light. He used to tell about that trip. Somewhere along the track he found a quince tree. Quince trees are rare in our part of the country; in fact, I have never seen one. Not even the one my father found, though he once took us on an expedition to look for it. He thought he knew the crossroad it was near, but we could not find it. He had not been able to eat the fruit, of course, but he had been impressed by its existence. It made him think he had got into a new part of the world.

The escaped child, the survivor, an old man trapped here by his leaky heart. I didn't pursue these thoughts. I didn't care to think of his younger selves. Even his bare torso, thick and white-he had the body of a workingman of his generation, seldom exposed to the sun-was a danger to me; it looked so strong and young. The wrinkled neck, the age-freckled hands and arms, the narrow, courteous head, with its thin gray hair and mustache, were more what I was used to.

"Now, why would I want to get myself operated on?" said my father reasonably. "Think of the risk at my age, and what for? A few years at the outside. I think the best thing for me to do is go home and take it easy. Give in gracefully. That's all you can do, at my age. Your attitude changes, you know. You go through some mental changes. It seems more natural."

"What does?" I said.

"Well, death does. You can't get more natural than that. No, what I mean, specifically, is not having the operation."

"That seems more natural?"

"Yes."

"It's up to you," I said, but I did approve. This was what I would have expected of him. Whenever I told people about my father I stressed his independence, his self-sufficiency, his forbearance. He worked in a factory, he worked in his garden, he read history books. He could tell you about the Roman emperors or the Balkan wars. He never made a fuss.

Judith, my younger daughter, had come to meet me at Toronto Airport two days before. She had brought the boy she was living with, whose name was Don. They were driving to Mexico in the morning, and while I was in Toronto I was to stay in their apartment. For the time being, I live in Vancouver. I sometimes say I have my headquarters in Vancouver.

"Where's Nichola?" I said, thinking at once of an accident or an overdose. Nichola is my older daughter. She used to be a student at the Conservatory, then she became a cocktail waitress, then she was out of work. If she had been at the airport, I would probably have said something wrong. I would have asked her what her plans were, and she would have gracefully brushed back her hair and said, "Plans?"-as if that was a word I had invented.

"I knew the first thing you'd say would be about Nichola," Judith said.

"It wasn't. I said hello and I-"

"We'll get your bag," Don said neutrally.

"Is she all right?"

"I'm sure she is," said Judith, with a fabricated air of amusement. "You wouldn't look like that if I was the one who wasn't here."

"Of course I would."

"You wouldn't. Nichola is the baby of the family. You know, she's four years older than I am."

"I ought to know."

Judith said she did not know where Nichola was exactly. She said Nichola had moved out of her apartment (that dump!) and had actually telephoned (which is quite a deal, you might say, Nichola phoning) to say she wanted to be incommunicado for a while but she was fine.

"I told her you would worry," said Judith more kindly on the way to their van. Don walked ahead carrying my suitcase. "But don't. She's all right, believe me."

Don's presence made me uncomfortable. I did not like him to hear these things. I thought of the conversations they must have had, Don and Judith. Or Don and Judith and Nichola, for Nichola and Judith were sometimes on good terms. Or Don and Judith and Nichola and others whose names I did not even know. They would have talked about me. Judith and Nichola comparing notes, relating anecdotes; analyzing, regretting, blaming, forgiving. I wished I'd had a boy and a girl. Or two boys. They wouldn't have done that. Boys couldn't possibly know so much about you.

I did the same thing at that age. When I was the age Judith is now I talked with my friends in the college cafeteria or, late at night, over coffee in our cheap rooms. When I was the age Nichola is now I had Nichola herself in a carry-cot or squirming in my lap, and I was drinking coffee again all the rainy Vancouver afternoons with my one neighborhood friend, Ruth Boudreau, who read a lot and was bewildered by her situation, as I was. We talked about our parents, our childhoods, though for some time we kept clear of our marriages. How thoroughly we dealt with our fathers and mothers, deplored their marriages, their mistaken ambitions or fear of ambition, how competently we filed them away, defined them beyond any possibility of change. What presumption.

I looked at Don walking ahead. A tall ascetic-looking boy, with a St. Francis cap of black hair, a precise fringe of beard. What right did he have to hear about me, to know things I myself had probably forgotten? I decided that his beard and hairstyle were affected.

Once, when my children were little, my father said to me, "You know those years you were growing up-well, that's all just a kind of a blur to me. I can't sort out one year from another." I was offended. I remembered each separate year with pain and clarity. I could have told how old I was when I went to look at the evening dresses in the window of Benbow's Ladies' Wear. Every week through the winter a new dress, spotlit-the sequins and tulle, the rose and lilac, sapphire, daffodil-and me a cold worshipper on the slushy sidewalk. I could have told how old I was when I forged my mother's signature on a bad report card, when I had measles, when we papered the front room. But the years when Judith and Nichola were little, when I lived with their father-yes, blur is the word for it. I remember hanging out diapers, bringing in and folding diapers; I can recall the kitchen counters of two houses and where the clothesbasket sat. I remember the television programs-Popeye the Sailor, The Three Stooges, Funorama. When Funorama came on it was time to turn on the lights and cook supper. But I couldn't tell the years apart. We lived outside Vancouver in a dormitory suburb: Dormir, Dormer, Dormouse-something like that. I was sleepy all the time then; pregnancy made me sleepy, and the night feedings, and the West Coast rain falling. Dark dripping cedars, shiny dripping laurel; wives yawning, napping, visiting, drinking coffee, and folding diapers; husbands coming home at night from the city across the water. Every night I kissed my homecoming husband in his wet Burberry and hoped he might wake me up; I served up meat and potatoes and one of the four vegetables he permitted. He ate with a violent appetite, then fell asleep on the living-room sofa. We had become a cartoon couple, more middle-aged in our twenties than we would be in middle age.

Those bumbling years are the years our children will remember all their lives. Corners of the yards I never visited will stay in their heads.

"Did Nichola not want to see me?" I said to Judith.

"She doesn't want to see anybody, half the time," she said. Judith moved ahead and touched Don's arm. I knew that touch-an apology, an anxious reassurance. You touch a man that way to remind him that you are grateful, that you realize he is doing for your sake something that bores him or slightly endangers his dignity. It made me feel older than grandchildren would to see my daughter touch a man-a boy-this way. I felt her sad jitters, could predict her supple attentions. My blunt and stocky, blonde and candid child. Why should I think she wouldn't be susceptible, that she would always be straightforward, heavy-footed, self-reliant? Just as I go around saying that Nichola is sly and solitary, cold, seductive. Many people must know things that would contradict what I say.

In the morning Don and Judith left for Mexico. I decided I wanted to see somebody who wasn't related to me, and who didn't expect anything in particular from me. I called an old lover of mine, but his phone was answered by a machine: "This is Tom Shepherd speaking. I will be out of town for the month of September. Please record your message, name, and phone number."

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Table of Contents

The Moons of Jupiter: from The Moons of Jupiter 3
The Progress of Love: from The Progress of Love 24
Differently: from Selected Stories 58
Carried Away: from Open Secrets 88
Hateship, Friendship, Courtship, Loveship, Marriage: from Hateship, Friendship, Courtship, Loveship, Marriage 137
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