Trajectory

Trajectory

by Richard Russo
Trajectory

Trajectory

by Richard Russo

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Overview

This dazzling collection of four stories features characters bound together by their parallel moments of reckoning with their pasts—and proves the Pulitzer Prize-winning author of Empire Falls is also a master of the short story. 

“Beautiful…. Will abruptly break your heart.” —The New York Times

The characters in these four expansive stories are a departure from the blue-collar denizens that populate so many of Richard Russo’s novels. In “Horseman,” a young professor confronts an undergraduate plagiarist—as well as her own regrets. In “Intervention,” a realtor facing a serious medical prognosis finds himself in his late father’s shadow. “Voice” gives us a semiretired academic who is conned by his estranged brother into joining a group tour of the Venice Biennale. And “Milton and Marcus” takes us into a lapsed novelist’s attempt to rekindle his screenwriting career—a career that depends wholly, at a crucial moment, on two Hollywood icons (one living, one dead). 

Look for Richard Russo's new book, Somebody's Fool, coming soon.

Product Details

ISBN-13: 9781101947739
Publisher: Knopf Doubleday Publishing Group
Publication date: 05/02/2017
Sold by: Random House
Format: eBook
Pages: 256
Sales rank: 388,450
File size: 2 MB

About the Author

About The Author
RICHARD RUSSO is the author of nine novels, most recently Chances Are..., Everybody’s Fool and That Old Cape Magic; two collections of stories; and the memoir Elsewhere. In 2002 he received the Pulitzer Prize for Empire Falls, which, like Nobody’s Fool, was adapted into a multiple-award-winning miniseries; in 2017, he received France’s Grand Prix de Littérature Américaine. He lives in Port­land, Maine.

Hometown:

Gloversville, New York

Date of Birth:

July 15, 1949

Place of Birth:

Johnstown, New York

Education:

B.A., University of Arizona, 1967; Ph.D., University of Arizona, 1979; M.F.A., University of Arizona, 1980

Read an Excerpt

Intervention

Thirty-two degrees, according to the dashboard thermometer, so . . . maybe. In warm weather the garage door duti-fully lumbered up and over the section of bent track, but below freezing it invariably stuck and you had to get out, remote in hand, and manually yank the door past the spot where it caught. Within a few degrees of freezing, though, it was anybody’s guess, so Ray pressed the remote and opened the driver’s-side door, pre-pared to get out if he needed to. When the door shuddered past the critical point and up along the ceiling, he closed the car door again, noticing as he did so that Paula, his wife, was watching him with her O ye of little faith expression.

Pulling inside, he made sure to leave her enough room to get out. Two-car was how the garage had been described when they bought the house. Ray, himself a realtor and all too familiar with such dubious representations, had squinted at the phrase in the listing information, then at the garage itself. It was probably true it could hold two small sedans, but with anything larger you’d need to pull the first car in at an angle to have enough space for the second vehicle. He’d considered calling Connie, the seller’s agent, on this, but he liked her, in particular how she confessed right up front that she’d just gotten her license. She seemed genu-inely terrified of saying the wrong thing, of disclosing something that by law wasn’t supposed to be mentioned or of failing to dis-close something else that was mandatory. She’d gone into real estate, she claimed, because she liked helping people find what they wanted, and she seemed blithely innocent of the fact that most people had no idea what that was, especially the ones who were defiantly confident they did. Ray doubted she would last long and wasn’t surprised when, a year later, he ran into her and was told she’d embarked upon a degree in social work.

Anyway, Paula had loved the house and didn’t want to see the not-quite-two-car garage as a problem, though she conceded they’d probably have to find someplace else for the lawn mower and the other stuff they usually stuck in there. She argued they’d be okay if they went slow and paid attention, especially at backing out. When for the record Ray expressed grave doubts about this as a long-term solution, she asked, “What are you saying? That we’re careless people?”

Well, no, but they were human and there was no app for that. A person could be careful most of the time, maybe eighty percent, if you really worked at it. The way Ray saw it, human nature was flawed, almost by definition, pretty much a hundred percent of the time, which left a sizable margin for error. For nearly a year, though, they waged a successful battle against such cynicism, until one day Ray misjudged and sheared off his side-view mirror. A month later Paula—­okay, okay, she admitted, she’d been in a hurry—­backed into the metal track the garage door slid on, warping the runner and taking out a taillight. The two acci-dents, in such close proximity, represented a genuine I told you so moment, but Ray’d given it a pass. He and Paula had been mar-ried for close to thirty years, thanks in large part to a mutual will-ingness to let an arched eyebrow do the heavy lifting of soliloquy.

Tonight, though, as the garage door rattled closed behind them, palsying violently the last few feet before finally slamming down onto the concrete floor, he knew there’d be more than her eyebrow to worry about. His wife hadn’t spoken a word during the ride home from the restaurant, and when the garage light went off, plunging them into complete darkness, she made no move to get out.

“You hurt Vincent’s feelings,” she said finally.
 
“He had it coming,” Ray said, referring to how they’d tussled briefly and pointlessly over the check. After all, it was Vinnie’s sixty-fifth birthday they were celebrating, plus there were two of them and just one of him, and his halfhearted grab was really just an attempt to get in a final political dig. “This is the least I can do, bud,” he said. “From now on you’re paying for my health insurance.”

“You forget we’re Democrats,” Ray responded, placing his credit card on the tray. “We think people are entitled to health care. We’re happy to contribute to that end.” A lifelong Republi-can, Vinnie had reluctantly voted for Obama but was now suffer-ing buyer’s remorse. (The guy’s not a realist . . . another Jimmy Carter . . . doesn’t know how the world works.) It had made for a trying evening.
 
“I’m not talking about the check,” Paula said. “I’m talking about his offer.”
 
“Which I thanked him for.”
 
“ ‘Thanks, anyway,’ was what you said. It sounded like ‘Mind your own business.’ ”
 
“That’s how I meant it.”

Truth be told, he’d been out of sorts from the start. They’d gone to La Dolce Vita, or, as Vinnie called it, Dolce Vita’s, his favorite place, pretentious and overpriced à la Vinnie. Ray and Paula had purposely arrived a few minutes early, but of course he was already there, ready to rise from his chair with a flourish and gather Paula in. “Hey, baby,” he said, as if it was still the fifties and they were all Rat Packers. “Is this stiff treating you right?”
 
Paula tried gently to extricate herself from his embrace, assur-ing Vinnie as she always did that Ray was treating her fine, but with everyone in the dining room watching them, Vinnie wasn’t about to surrender either the pretense or the woman.
 
“I only mention it because we could run away, just the two of us.” All of this sotto voce. “Someplace warm, with our own pri-vate cabana? Call me.”
 
Vinnie in a nutshell: Call me. You need a table at Babbo? Call me. You need Red Sox tickets? Call me. You need to get your dog trained? Call me. You don’t have a dog? Call me. Because Vin-nie always knew a guy. Sometimes from the old neighborhood, sometimes from prep school or maybe his university fraternity. Guys who normally didn’t do favors, but for Vinnie . . .
Only when Paula promised to call if Ray turned into a lout did Vinnie release her and turn to the patient witness of this recur-ring lunacy, and Ray extended his hand. Vinnie swatted it away, offended, as if handshakes were insulting to guys who shared deep emotional bonds without getting swishy about it. “Get outa here with that,” he said, pulling Ray into one of his hugs. “How’s every little thing? You okay?”
 
Ray, anxious to be seated, said he was right as rain.
 
“We need to hit the links,” Vinnie said, making a Johnny Car-son golf swing. “I’m not saying I’m giving you strokes, I’m just saying.”

Then he spun back toward Paula, imploring, arms extended wide like a crooner’s, to take in the entire restaurant. “What do you think? Best table in the house? That’s how things would be every night if you were with me.”
 
He’s just lonely since Jackie died was how Paula excused such outrageous behavior, to which Ray always responded that, yeah, sure, Vinnie was lonely. The mistake would be to conclude that he was just lonely.
 
“He’s your friend,” she reminded him now in the dark garage. “He cares about you. If he knows a good surgeon—­”
 
“Not good,” Ray corrected her. “The best. Vinnie always knows the best guy. You’d have to be crazy to go to anybody besides Vinnie’s guy.”
 
“But that’s how he is. He’s just being Vincent. People like to feel important. What’s so wrong with that?”
 
Ray would have liked to tell her but couldn’t, though it did put him in mind of his uncle Jack, whom he hadn’t thought about in years.
 
“Is this how it’s going to be, then?” she said. “What do you mean?”
 
“I just don’t see why you have to act like this. What does it get you?”
 
By now his eyes had adjusted to the dark enough to see that hers were glistening. “Paula,” he said. “What are we talking about?”
He knew, though.
 
“What I’d like to get through to you is that in this particu-lar circumstance . . .” She paused, seemingly poised between all-too-­understandable fear and something closer to anger. “Being you, going about things the way you usually do, isn’t always a good thing.”
 
“I should become somebody else?”

“Yes,” she said, taking him by surprise.
 
“How come Vinnie gets to be Vinnie, but I don’t get to be me?” “Vinnie’s not the one who—­”
 
“I already told you, I’ll do whatever you—­” “What I want is for you to swallow your pride.”
“Fine,” he sighed, because it was ridiculous to be sitting there in the cold damp garage, their visible breath fogging the wind-shield. “If he wants to put me in touch with this Boston guy, fine. Now, can we go inside?”
 
He took her silence as permission to open his door, and he did—­too far, dinging yet again the rear panel of his parked SUV.
Which felt like what? Vindication was the far-­from-­comforting answer, but that’s what it felt like.

Reading Group Guide

The questions, discussion topics and reading list that follow are intended to enhance your reading group’s conversation about Trajectory, Pulitzer Prize–­winning author Richard Russo’s masterly new short-­story collection about the fragility of human nature.

1. Discuss the childhood poem that is referenced throughout “Horseman.” Why does it unnerve Janet? How does its use throughout the story help to reveal Janet’s feelings about her family life and her self-­image?

2. The discussion of academia in “Horseman” reveals inequities in the way that male and female academics are treated. How does gender affect Janet’s authority as a professor? How does she experience gender bias on a structural level? Discuss her attempts to resist gender stereotypes or misogynistic behavior. When she does fight back, how is she perceived?

3. Discuss the scene in which Janet visits Marcus Bellamy for her first discussion with him. What are her expectations for the meeting? How does their conversation shake her confidence? What does it reveal about her role as an academic?

4. Describe Janet’s relationship with her husband, Robbie. How does she view her husband’s decision not to finish his coursework? How has parenting a son with special needs changed their relationship?

5. How does Russo build tension throughout “Voice” in regards to Nate’s interaction with “the Mauntz girl”? As a reader, what did you initially expect of their relationship? How do the stakes change as the story progresses? Why do you think Nate takes a special interest in her?

6. Nate’s volatile relationship with Julian underpins the action of “Voice.” How does competition factor into their relationship? Jealousy? Discuss the difference in the way they approach interpersonal relationships on the trip.

7. On page 55, Nate is described as “modest and thoughtful, unfailingly considerate and an excellent listener—­all traits women are reputed to value in men.” Nevertheless, “he ends up disappointing them far more profoundly than Julian does.” How does the reader experience Nate’s failure with women throughout “Voice”? By the end of the story, does contentment seem possible for him?

8. Discuss the fragility of the academic life as explored in “Horseman” and “Voice.” How do both Janet and Nate regard their careers, in terms of balancing their expectations for it versus the reality of their positions? How are the uncertainties of academia addressed in these stories?

9. On page 104, Nate refers to the “culture of carelessness” that many of his students have grown up inhabiting. How is academic integrity explored in both “Voice” and “Horseman”?

10. Describe the relationship between Ray and Vinnie in “Intervention.” Would you describe it as a true friendship? How did you interpret Ray’s reluctance to see the doctor that Vinnie recommended?

11. How is economic strife discussed in Trajectory? Consider the characters in “Intervention.” How does the economic necessity of closing the deal on Nicki’s home weigh on Ray?

12. Discuss the scene in which Ray meets up with his brother. How does the shadow of their father loom over the conversation? How do both brothers interpret their father’s legacy? Consider the impact of their father’s death on the way Ray thinks about his illness.

13. How is the screenwriting profession described in “Milton and Marcus”? How is the superficiality of relationships in Hollywood explored in the story?

14. Discuss the import of the margarita story told by Nolan. Why do you think he tells this story, despite the fact that others can’t relate to it? What does it assert about his character?

15. Discuss the theme of male egotism found throughout Trajectory. How does pride interfere in the relationships between Julian and Nate? Ray and Vinnie? The various characters featured in “Milton and Marcus”?

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