John Updike has selected enduring stories from the eighty-four annual volumes of THE BEST AMERICAN SHORT STORIES, and the result is a "spectacular tapestry of fictional achievement" (Entertainment Weekly). Volume 1 of the audio edition features a wide variety of contemporary writers reading classics of the genre, along with authors reading from their own work.
"America and the 20th century -- at its best" (Wall Street Journal).
Contents: The Other Woman by Sherwood Anderson, read by John Updike. Theft by Katherine Anne Porter, read by Jill McCorkle. Crazy Sunday by F. Scott Fitzgerald, read by George Plimpton. The Interior Castle by Jean Stafford, read by Mary Gordon. Gold Coast by James Alan McPherson, read by James Alan McPherson. The German Refugee by Bernard Malamud, read by Alan Cheuse. The Shawl by Cynthia Ozick, read by Cynthia Ozick. How to Win by Rosellen Brown, read by Rosellen Brown. I Want to Live! by Thom Jones, read by Thom Jones. Birthmates by Gish Jen, read by Gish Jen.
At age 67, the perennially youthful John Updike may at last qualify as something of an elder statesman. But the Best American Short Stories
annual--whose greatest hits package Updike has now assembled--is almost a generation older, having commenced publication in 1915. This staying power allows the hefty Best American Short Stories of the Century
to perform double duty. It is, on the one hand, a priceless compendium of American manners and morals--a decade-by-decade survey of how we lived then, and how we live now. Yet Updike very consciously avoided the sociological angle in making his selection. "I tried not to select stories because they illustrated a theme or portion of the national experience," he writes in his introduction, "but because they struck me as lively, beautiful, believable, and, in the human news they brought, important." In this he succeeded: the 55 fictions that made the grade are most notable for their human (rather than merely historical) interest.
So who got in? There are a good number of cut-and-dried classics here, including Hemingway's "The Killers," Faulkner's "That Evening Sun Go Down," and Philip Roth's acidic spin on religious connivance, "Defender of the Faith." In other cases, major authors are represented by relatively minor works. Yet it's hard to quibble with the inclusion of Willa Cather, F. Scott Fitzgerald, Tennessee Williams, J.F. Powers, Eudora Welty--particularly when you take into account that their second-tier creations are fully the equal of anybody else's masterpieces. And the final third of the book really does constitute an honor roll of contemporary American fiction, with brilliant entries by Saul Bellow, Donald Barthelme, Raymond Carver, Tim O'Brien, Bernard Malamud, Cynthia Ozick, John Cheever, and Vladimir Nabokov. (For the latter, Updike actually succumbed to his own idolatry and bent the rules for admission--but nobody who reads the hallucinatory "That in Aleppo Once..." will regret it.) It goes without saying that fiction fans will be complaining about the editor's sins of omission well into the next century. But no matter how you slice it, this remains an elegant and essential advertisement for the short form. --James Marcus