For eighty-four years, the annual volumes of The Best American Short Stories have launched literary careers and showcased the most compelling stories of each year. Editor John Updike has chosen selections from these volumes that have endured the test of time, and the result is a "spectacular tapestry of fictional achievement" (Entertainment Weekly). This audio edition of The Best American Short Stories of the Century features a wide variety of beloved readers and dazzling stories that will take listeners on a trip through "America and the 20th century -- at its best" (Wall Street Journal). Contents: Wild Plums by Grace Stone Coates, read by Ashley Warlick. Here We Are by Dorothy Parker, read by Meg Wolitzer. Christmas Gift by Robert Penn Warren, read by Christopher Tilghman. The Hitch-Hikers by Eudora Welty, read by Jill McCorkle. The Second Tree from the Corner by E. B. White, read by Donald Hall. The German Refugee by Bernard Malamud, read by Alan Cheuse. A City of Churches by Donald Barthelme, read by Rick Moody. Where I'm Calling From by Raymond Carver, read by Charles Baxter. You're Ugly, Too by Lorrie Moore, read by Lorrie Moore. The Things They Carried by Tim O'Brien, read by Tim O'Brien. Proper Library by Carolyn Ferrell, read by Carolyn Ferrell.
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