SCRIBNER 1230 Avenue of the Americas New York, NY 10020 This book is a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. Reasons to Live copyright © 1985 by Amy Hempel At the Gates of the Animal Kingdom copyright © 1986, 1987, 1988, 1989, 1990 by Amy Hempel Tumble Home copyright © 1997 by Amy Hempel The Dog of the Marriage copyright © 2005 by Amy Hempel “On Amy Hempel” copyright © 2006 by Rick Moody All rights reserved, including the right of reproduction in whole or in part in any form. These titles were previously published individually. and design are trademarks of Macmillan Library Reference USA, Inc. SCRIBNER used under license by Simon & Schuster, the publisher of this work. DESIGNED BY ERICH HOBBING Library of Congress Cataloging-in-Publication Data Hempel, Amy. [Short stories. Selections] The collected stories of Amy Hempel / Amy Hempel; with an introduction by Rick Moody. p. cm. Contents: Reasons to live—At the gates of the animal kingdom—Tumble home —The dog of the marriage 1. United States—Social life and customs—Fiction. I. Title. PS3558.E47916A6 2006 813’.54—dc22 2005057608 ISBN-10: 1-4165-4603-0 ISBN-13: 978-1-41654603-0 constitutes an extension of the copyright page. Visit us on the World Wide Web: http://www.SimonSays.com To Nan Graham Contents On Amy Hempel Reasons to Live In a Tub Tonight Is a Favor to Holly Celia Is Back Nashville Gone to Ashes San Francisco In the Cemetery Where Al Jolson Is Buried Beg, Sl Tog, Inc, Cont, Rep Going Pool Night Three Popes Walk into a Bar The Man in Bogotá When It’s Human Instead of When It’s Dog Why I’m Here Breathing Jesus Today Will Be a Quiet Day At the Gates of the Animal Kingdom Daylight Come The Harvest The Most Girl Part of You Rapture of the Deep Du Jour Murder The Day I Had Everything To Those of You Who Missed Your Connecting Flights Out of O’Hare And Lead Us Not into Penn Station In the Animal Shelter At the Gates of the Animal Kingdom The Lady Will Have the Slug Louie Under No Moon The Center Tom-Rock Through the Eels The Rest of God Tumble Home Weekend Church Cancels Cow The Children’s Party Sportsman Housewife The Annex The New Lodger Tumble Home Notes The Dog of the Marriage Beach Town Jesus Is Waiting The Uninvited Reference #388475848-5 What Were the White Things? The Dog of the Marriage The Afterlife Memoir Offertory Notes On Amy Hempel It’s all about the sentences. It’s about the way the sentences move in the paragraphs. It’s about rhythm. It’s about ambiguity. It’s about the way emotion, in difficult circumstances, gets captured in language. It’s about instants of consciousness. It’s about besieged consciousness. It’s about love trouble. It’s about death. It’s about suicide. It’s about the body. It’s about skepticism. It’s against sentimentality. It’s against cheap sentiment. It’s about regret. It’s about survival. It’s about the sentences used to enact and defend survival. In 1985, when Amy Hempel’s first collection Reasons to Live was first published, we found ourselves in the heady period of the American short-story renaissance. However briefly, it was not only acceptable to write and publish short stories (there were many more venues for them in that bygone time), but it was even possible to sell a few copies of your collection along the way. Some of this had to do with the notable Vintage Contemporaries line of paperback short fiction, which brought us, in its first seasons, such voices as Richard Ford, Jay McInerney, and Raymond Carver. Some of this had to do with the editorial vision of one Gordon Lish, as keen and vigorous a proponent of literary fiction as has existed in the last fifty years. In the course of his ascendancy, he had the temerity of purpose to bring to light writers like Carver, Barry Hannah, Mary Robison, and Amy Hempel, among many others. I was in graduate school in this heady moment. I was in my second year of graduate school when Hempel’s first collection hit shelves (and along with Self- Help, by Lorrie Moore, it was one of the books that everyone wanted to read at the time). I was exhibiting symptoms of boredom and impatience with most of the masculine examples of contemporary fiction. I couldn’t sympathize, finally, with Ford and McInerney characters. I had never punched another man, nor shot a bird from the sky, nor had I fact-checked among the coke-snorting glitterati. And these narratives by male writers seemed to require complicity with their larger-than-life protagonists. Then came the Hempel collection. As with Lorrie Moore, the Hempel stories were urbane, witty, somber, dazzling, oblique, and quietly, desperately heroic. In Reasons to Live, one had a sense that the author really was trying to use sentences to save lives, because there were so many memorable, quotable sentences hiding in the occasionally inscrutable fragments of life contained therein: “A blind date is coming to pick me up, and unless my hair grows an inch by seven o’clock, I am not going to answer the door.” Or: “In the park, I saw a dog try to eat his own shadow, and another dog—I am sure of it—was herding a stand of elms.” Or: “Here’s a trick I found for how to finally get some sleep. I sleep in my husband’s bed. That way the empty bed I look at is my own.” These Hempel sentences, with their longing and their profound disquiet, do not rage or posture the way the men of the minimalist realist period did. They ache. And this ache seems to have everything to do with a rather profound and cruelly underestimated lineage of women writers in North America, writers in many cases much more important than their male counterparts, among them Grace Paley, Mary Robison, Alice Munro, Lydia Davis, Joy Williams, Cynthia Ozick, and Ann Beattie. Well, to put it another way: Hempel, in this first collection, came out from under Paley’s skirt, if I can manhandle an Ernest Hemingway reference, but she also became her own thing. Where Paley’s voice has everything to do with the New York City of the first half of the twentieth century, and its slangy Yiddishisms, Hempel’s voice has something to do with stand-up comedy, contemporary poetry, celebrity magazines, visual arts, the West, and the popular song. (Poetry especially becomes more and more of an influence on her nearly Japanese compaction the further along she goes in her work.) At the time of publication, Reasons to Live was noteworthy for one overpowering story, a story which, at this late date, is known to almost all enthusiasts of recent short fiction, since it is anthologized frequently. The story in question is named “In the Cemetery Where Al Jolson Is Buried.” Though the narrative frame of this composition is accessible enough—the narrator tries to buoy the spirits of a dying friend through the distraction of the well-turned anecdote—it’s the violations of well-made story structure and conventionally “literary values” that make the story even more lasting: “Make it useless stuff or skip it,” the dying friend says at the outset (perhaps a manifesto for Hempel’s mulch of popular culture and high literature), and the narrator complies: “Did she know that Tammy Wynette had changed her tune? Really. That now she sings ‘Stand by Your Friends’? That Paul Anka did it, too, I said. Does ‘You’re Having Our Baby.’ That he got sick of all that feminist bitching.” “Al Jolson” is a gem in a volume that while possessed of bounteous moments of transfiguration (I like, for example, the lovely conversation between a father and his children about Jell-O in “Celia Is Back,” or Wesley the world- weary comedian in “Three Popes Walk into a Bar”) is the beginning of a great career rather than its finest hour. I’d go so far as to say that Reasons to Live looks like a sweet but quaint memory in the brilliant light of Hempel’s next book, At the Gates of the Animal Kingdom (1990). It’s true that it took Hempel five years to write the 137 pages of the second volume of stories, and it’s true that this was actually fast for her (Tumble Home took seven years, and The Dog of the Marriage took eight), but when the results are as pitch-perfect and unforgettable as “The Harvest,” or “The Most Girl Part of You,” or “Rapture of the Deep,” all of them stunners from the second volume, who really gives a shit how long the book takes or whether it’s shorter than one of those big encyclopedic tomes that the boys, obsessed with the sound of their own voices, were frequently writing in the same period? When “The Harvest” first came out in Gordon Lish’s Quarterly, I remember being arrested not only by the broad course of the story (of the narrator’s massive car accident) itself, but most especially by the double-space break in the middle, after which the following appeared: “I leave a lot out when I tell the truth. The same when I write a story. I’m going to start now to tell you what I left out of ‘The Harvest,’ and maybe begin to wonder why I had to leave it out.” The narrative then goes on to undercut virtually every trustworthy assertion made in its prior pages, doing a merry dance of destruction on the grave of the realistic fiction, conjuring instead the many illuminating paradoxes of consciousness and identity. Only a scant few works of contemporary fiction have done the same with such grace and style. By the time Tumble Home (1997)—Hempel’s third book—emerged into the light of day, the short-story renaissance of the middle eighties was six feet under, and many of the best venues for the publication of this time-honored form were interred in the mausoleum of literary nostalgia. Hempel, like Paley before her, and perhaps in reply to the literary politics of the moment, began to attempt to reckon with longer work. The result was the novella-length title story of her third