PDF Ebook See What Can Be Done: Essays, Criticism, and Commentary, by Lorrie Moore
PDF Ebook See What Can Be Done: Essays, Criticism, and Commentary, by Lorrie Moore
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See What Can Be Done: Essays, Criticism, and Commentary, by Lorrie Moore
PDF Ebook See What Can Be Done: Essays, Criticism, and Commentary, by Lorrie Moore
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Review
“The kind of book, and the kind of human, you’d want to guide you through the past few decades in letters and culture. . . . Moore is one of our best documentarians of everyday amazement.” —The New Yorker“Excellent. . . . Shining. . . . [This] book flooded my veins with pleasure.” —Dwight Garner, The New York Times“Moore’s incisive, often mordant yet exhilarating pieces illuminate the trajectory of a literary artist’s aesthetic evolution, and enhance an understanding of her fiction.” —Claire Messud, The Guardian “Impressive. . . . Her wicked wit is demonstrated by the opening sentence. . . . What sustains overall this group of essays and commentary is a continuous critical spirit that stays in touch with life.” —William H. Pritchard, The Wall Street Journal “One of our finest fiction writers considers the work of her fellow artists. . . . [An] agile, funny, and sage take on literature and culture.” —O, The Oprah Magazine “Captivating . . . . Nuanced and polished. . . . I found myself nestling into the book the way one does with the most gripping of novels.” —Daphne Merkin, The New York Times Book Review “Moore’s writing sings at the atomic level. . . . One comes to this book not to find out what one should think, or even what Moore thinks, about Don DeLillo or Anais Nin or Alice Munro; the questions one can answer here are, instead, why one might care about them, and how a book or a story or a sentence might offer safety, companionship, sight.” —The New Republic “A testament to the breadth of Moore's intellect. . . . ‘One must throw all that one is into language,’ she writes, ‘like a Christmas tree hurled into a pool.’. . . See What Can Be Done is not only a call to that ideal, but a fulfillment of it.” —The Christian Science Monitor “Whip-smart and thought-provoking.” —Elle “Engrossing enough to read straight through. . . . Moore’s interest in fully revealing each work she discusses becomes a kind of guiding spirit. . . . Sublimely generous. . . . Embrace[s] elegance.” —Commonweal “[A] brilliant and piercing collection. . . . She fearlessly tells the truth about hard things.” —Minneapolis Star Tribune “Sharply observed and gorgeously written. . . . Moore isn’t afraid to take a stand. . . . Moore places a premium in these pieces on the ‘resilience’ demonstrated by some of her subjects. Let’s hope she continues to exhibit the same, giving us more of the short stories for which she’s renowned—and the essays for which she should be.” —Milwaukee Journal Sentinel “Arresting. . . . Excellent. . . . Incisive, wide-ranging. . . . Marvelously nuanced.” —The Observer (London) “This collection of 60 lucid and erudite cultural essays by the award-winning fiction writer is a treasure.” —BBC.com “Lorrie Moore’s essays are brilliantly written, brimming with energy. . . . A generous reader of other writers, Moore is always smart, never snooty, and as in her novels and short stories, there’s a bold streak of humour.” —The Irish Times
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About the Author
Lorrie Moore is the Gertrude Conaway Vanderbilt Professor of English at Vanderbilt University in Nashville, Tennessee. She is the recipient of the Irish Times International Prize for Literature and a Lannan Foundation fellowship, as well as the PEN/Malamud Award and the Rea Award for her achievement in the short story.
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Product details
Paperback: 512 pages
Publisher: Vintage; Reprint edition (March 5, 2019)
Language: English
ISBN-10: 0525433856
ISBN-13: 978-0525433859
Product Dimensions:
5.1 x 0.8 x 8 inches
Shipping Weight: 12.5 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
10 customer reviews
Amazon Best Sellers Rank:
#91,805 in Books (See Top 100 in Books)
From Shakespeare to Stephen Sondheim and Amos Oz to Joyce Carol Oates, this scholarly collection of more than 50 essays, mostly erudite literary criticism, is at times a delight to read and at other times a real slog.Author Lorrie Moore has assembled essays in chronological order that she previously published from 1983 to 2017 in such prestigious publications as the New York Review of Books, The New York Times Book Review, The New Yorker, The Atlantic, Harper's Magazine and more. In addition to literary criticism, Moore opines on such varied subjects as the movie "Titanic," Barack Obama, her first job, the best love song of the millennium, the O.J. Simpson trial, Monica Lewinsky, the TV series "The Wire" and 9/11 ten years later.Moore has a formidable intellect and an astonishing bucket of knowledge stored in her brain. Here is one of just MANY examples: When discussing the theme of water in Alice Munro's short story collection "Runaway," she compares and contrasts it with the ancient Roman poet, Ovid: "…in Ovid water fuses a couple's sexuality; in Munro it distinguishes and separates." This is not a fact that one can easily Google. Lorrie Moore just knows it, gleaning it from her prodigious literary background, education and admirable memory (she's 61!). Her depth and breadth of knowledge is truly admirable and something of which I am, quite frankly, in awe.Still, while most of the essays are fascinating and truly inspired me to read (and buy) the books, some are so highbrow and cluttered with intellectual--and at times perplexing--drivel they are difficult to comprehend and a chore to finish.Bottom line: If you enjoy reading scholarly literary criticism, this book is for you. If you would rather just read the novel or short story collection, skip this.
For Lorrie Moore fans this book is a further proof of her being a writer of sense and sensibility. Never does the admirable Lorrie get academic,she gives her well considered opinion on most artifacts of value not disdaining television and popular serials.I would have her read vastlybecause she really does leave you wiser, Calm, collected, never chauvinistic, never intoning ridicolouse praises where not deserved. She is fairand honest, no mean result in the literary world. She understands perfectly the different task of writing about another's work and writing herown thing.Never cranky or acidic on any subject.We are grateful to Lorrie Moore for being such an accomplished, well-balanced, nurturing, fraternal artist.
Her piece on Lena Dunham is her best. She has useful appreciations of quite a few authors, but they are mostly too short to be considered all that good. But her Dunham essay is tenchant and perceptive. For anybody who really loves contemporary American writers this is a useful, not great collection.
Extremely disappointing collection. I am a HUGE Lorrie Moore fan and have all her writings which I have read multiple times. This strikes me as a cobbled together collection in an effort to keep her relevant, rather than being a collection rich in material which is genuinely engaging, original and insightful. Nothing worth reading here. Contemplated sending this back but will leave it in our local "little free library" instead.
The kind of witty, intelligent writing those who know Moore's work have come to expect. Wonderfully insightful reviews, she reviews each work or author thoroughly, with honesty and kindness. Highly recommend.
Every bit as funny, moving, and smart as her fiction. She's quite remarkable.
The title refers to a request by Robert Silvers, editor at the New York Review of Books, in a note that usually accompanied a candidate for her consideration. "He would propose that I consider writing about something -- he usually just FedExed a book to my door -- and then he would offer a polite inquiry as to my interest: perhaps I'd like to take a look at such and such. 'See what can be done,' he would invariably close. 'My best, BobWhat we have in this volume are about 60 of Moore's essays, criticism, and commentaries. All were published by various sources during a period from 1983 ("Nora Ephron's Heartburn") until 2017 ("Stephen Stills"). I had previously read about a third of them and was eager to re-read them as well as check out the others. Having now read all of them, what is my appraisal? If I were asked to select essayists with whom to spend an evening, they would be Michel de Montaigne, George Orwell, E.B. White, Joseph Epstein, John McPhee, and Moore.Consider her concluding paragraph in the Introduction:"My ignorance of a topic never deterred [Silvers] from trying to assign it to me. He started offering more and more television for me to watch and see what could be done. I turned only a few down. But I took on programs and films I was genuinely interested in watching and wrote about them in my Martian way. Mongaigne's [begin italics] que sais-je [end italics]. A little light, a little wonder, some skepticism, some awe, some squinting, some [begin italics] je ne sais quoi [end italics]. Pick a thing up, study it, shake it, skip it across a still surface to see how much felt and lively life got baked into it. Does it sail? Observe. See what can be done."Here in Dallas near the downtown area, there is a Farmer's Market at which some of the merchants offer slices of fresh fruit as samples of their wares. In that same spirit, I offer three brief excerpts from Moore's lively and eloquent narrative:"John Cheever" (1988): In his biography of John Cheever, Scott Donaldson "lingers in his discussion of Cheever's great stories -- 'Goodbye, My Brother,' 'The Country Husband,' 'The Geometry of love' -- like a gardener caring for the,m, though in his particular tasks they yield him beauty rather than fruit. Said son Fred Cheever of his father, 'No one, absolutely no one, shared his life with him.' Donaldson has this in common with his subject: the impulse to share a life that cannot be shared -- though it can be written down a little with a gardener's care, the words planted like a kiss." (Pages 22-23)"On Writing" (1994): "Writing is both the excursion into and the excursion out from one's life. That is the queasy paradox of the artistic life. It is the thing that, like love, removes one both painfully and deliciously from the ordinary shape of existence. It joins another queasy paradox: that life is an amazing, hilarious, blessed gift and that it is also intolerable. Even in the luckiest life, for example, one loves someone and then that someone dies. This is not [begin italics] acceptable [end italics]. This is a major design flaw!" (59)"True Detective" (2015): "The ability on a camera-laden set to inhabit a character without a twitch of distraction or preoccupation or visible hint of internally or externally irrelevant is a scary but brilliant feat. Ordinary people cannot do it. But I have seen great actors do it even at cocktail parties full of cell phones. In a world where major writers have announced that they cannot focus on their work without extracting or blocking the modems in their laptops, this kind of thespian concentration is worth noting. (One thinks of the writer Anne Lamott's remark on her own maturing undistractibility: 'I used to not be able to work if there were dishes in the sink,' she has said. 'Then I had a cild and now I can work if there is a corpse in the sink.'" (351)However different great essayists may be in most respects, all are willing to examine -- if only briefly -- anything and anyone that attracts their attention with the prospect of nourishing their (not quite) insatiable curiosity. For them, differences have as much in common as commonalities have differences. They are explorers of worlds that are both internal and external. They let their readers tag along as welcomed companions and on occasion as confidantes...or perhaps as collaborators.That is what it was like as I re-connected with some of Lorrie Moore's essays and experienced for the first time several others. You can be certain that this volume will be cherished...near at hand, always at the ready.I feel so grateful for the pleasure of her company.
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