Lorrie Moore - 100 Years of the Best American Short Stories

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The Best American Short Stories These forty stories represent their eras but also stand the test of time. Here is Ernest Hemingway’s first published story and a classic by William Faulkner, who admitted in his biographical note that he began to write “as an aid to love-making.” Nancy Hale’s story describes far-reaching echoes of the Holocaust; Tillie Olsen’s story expresses the desperation of a single mother; James Baldwin depicts the bonds of brotherhood and music. Here is Raymond Carver’s “minimalism,” a term he disliked, and Grace Paley’s “secular Yiddishkeit.” Here are the varied styles of Donald Barthelme, Charles Baxter, and Jamaica Kincaid. From Junot Díaz to Mary Gaitskill, from ZZ Packer to Sherman Alexie, these writers and stories explore the different things it means to be American.
Moore writes that the process of assembling these stories allowed her to look “thrillingly not just at literary history but at actual history — the cries and chatterings, silences and descriptions of a nation in flux.” 
is an invaluable testament, a retrospective of our country’s ever-changing but continually compelling literary artistry.
LORRIE MOORE, after many years as a professor of creative writing at the University of Wisconsin — Madison, is now the Gertrude Conaway Vanderbilt Professor of English at Vanderbilt University. Moore has received honors for her work, among them the 
 International Fiction Prize and a Lannan Foundation fellowship, as well as the PEN/Malamud Award and the Rea Award for her achievement in the short story. Her most recent novel, 
was short-listed for the 2010 Orange Prize for Fiction and for the PEN/Faulkner Award, and her most recent story collection, 
, was short-listed for the Story Prize and the Frank O’Connor Award.
HEIDI PITLOR is a former senior editor at Houghton Mifflin Harcourt and has been the series editor of 
since 2007. She is the author of the novels 

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They would live in that cell together until Caesar was released, four years later. Rainey tried never to be in the house during waking hours; if he was there when Caesar came in, he would leave. Rainey’s names spoken by him that first day were all the words that would ever pass between the two men.

A week or so after Rainey got there, Caesar bought from Multrey a calendar that was three years old. It was large and had no markings of any sort, as pristine as the day it was made. “You know this one ain’t the year we in right now,” Multrey said as one of his women took a quarter from Caesar and dropped it in her purse. Caesar said, “It’ll do.” Multrey prized the calendar for one thing: its top half had a photograph of a naked woman of indeterminate race sitting on a stool, her legs wide open, her pussy aimed dead at whoever was standing right in front of her. It had been Multrey’s good-luck piece, but the luck was dead. Multrey remembered what the calendar had done for him, and he told his woman to give Caesar his money back, lest any new good-fortune piece turn sour on him.

The calendar’s bottom half had the days of the year. That day, the first Monday in June, Caesar drew in the box that was January 1st a line that went from the upper left-hand corner down to the bottom right-hand corner. The next day, a June Tuesday, he made a line in the January 2nd box that also ran in the same direction. And so it went. When the calendar had all such lines in all the boxes, it was the next June. Then Caesar, in that January 1st box, made a line that formed an X with the first line. And so it was for another year. The third year saw horizontal marks that sliced the boxes in half. The fourth year had vertical lines down the centers of the boxes.

This was the only calendar Caesar had in Lorton. That very first Monday, he taped the calendar over the area where the pictures of Pancho’s children had been. There was still a good deal of empty space left, but he didn’t do anything about it, and Rainey knew he couldn’t do anything, either.

The calendar did right by Caesar until near the end of his fifth year in Lorton, when he began to feel that its juice was drying up. But he kept it there to mark off the days and, too, the naked woman never closed her legs to him.

In that fifth year, someone murdered Multrey as he showered. The killers — it had to be more than one for a man like Multrey — were never found. The Multrey woman who picked at her food had felt herself caring for a recent arrival who was five years younger than her, a part-time deacon who had killed a Southwest bartender for calling the deacon’s wife “a woman without one fuckin brain cell.” The story of that killing — the bartender was dropped head first from the roof of a ten-story building — became legend, and in Lorton men referred to the dead bartender as “the Flat-Head Insulter” and the killer became known as “the Righteous Desulter.” The Desulter, wanting Multrey’s lady, had hired people to butcher him. It had always been the duty of the lady who hated food to watch out for Multrey as he showered, but she had stepped away that day, just as she had been instructed to by the Desulter.

In another time, Cathedral and Caesar would have had enough of everything — from muscle to influence — to demand that someone give up the killers, but the prison was filling up with younger men who did not care what those two had been once upon a time. Also, Cathedral had already had two visits from the man he had killed in Northwest. Each time, the man had first stood before the bars of Cathedral’s cell. Then he held one of the bars and opened the door inward, like some wooden door on a person’s house. The dead man standing there would have been sufficient to unwrap anyone, but matters were compounded when Cathedral saw a door that for years had slid sideways now open in an impossible fashion. The man stood silent before Cathedral, and when he left he shut the door gently, as if there were sleeping children in the cell. So Cathedral didn’t have a full mind, and Multrey was never avenged.

There was an armed-robbery man in the place, a tattooer with homemade inks and needles. He made a good living painting on both muscled and frail bodies the names of children; the Devil in full regalia with a pitchfork dripping with blood; the words “Mother” or “Mother Forever” surrounded by red roses and angels who looked sad, because when it came to drawing happy angels the tattoo man had no skills. One pickpocket had had a picture of his father tattooed in the middle of his chest; above the father’s head, in medieval lettering, were the words “Rotting in Hell,” with the letter “H” done in fiery yellow and red. The tattoo guy had told Caesar that he had skin worthy of “a painter’s best canvas,” that he could give Caesar a tattoo “God would envy.” Caesar had always told him no, but then he awoke one snowy night in March of his sixth year and realized that it was his mother’s birthday. He did not know what day of the week it was, but the voice that talked to him had the authority of a million loving mothers. He had long ago forgotten his own birthday, had not even bothered to ask someone in prison records to look it up.

There had never been anyone or anything he wanted commemorated on his body. Maybe it would have been Carol, his first girlfriend twenty years ago, before the retarded girl entered their lives. He had played with the notion of having the name of the boy he thought was his put over his heart, but the lie had come to light before that could happen. And before the boy there had been Yvonne, with whom he had lived for an extraordinary time in Northeast. He would have put Yvonne’s name over his heart, but she went off to work one day and never came back. He looked for her for three months, and then just assumed that she had been killed somewhere and dumped in a place only animals knew about. Yvonne was indeed dead, and she would be waiting for him at the end of the line, though she did not know that was what she was doing. “You can always trust unhappiness,” Yvonne had once said, sitting in the dark on the couch, her cigarette burned down to the filter. “His face never changes. But happiness is slick, can’t be trusted. It has a thousand faces, Caes, all of them just ready to re-form into unhappiness once it has you in its clutches.”

So Caesar had the words “Mother Forever” tattooed on his left biceps. Knowing that more letters meant a higher payment of cigarettes or money or candy, the tattoo fellow had dissuaded him from having just plain “Mother.” “How many hours you think she spent in labor?” he asked Caesar. “Just to give you life.” The job took five hours over two days, during a snowstorm. Caesar said no to angels, knowing the man’s ability with happy ones, and had the words done in blue letters encased in red roses. The man worked from the words printed on a piece of paper that Caesar had given him, because he was also a bad speller.

The snow stopped on the third day and, strangely, it took only another three days for the two feet of mess to melt, for with the end of the storm came a heat wave. The tattoo man, a good friend of the Righteous Desulter, would tell Caesar in late April that what happened to him was his own fault, that he had not taken care of himself as he had been instructed to do. “And the heat ain’t helped you neither.” On the night of March 31st, five days after the tattoo had been put on, Caesar woke in the night with a pounding in his left arm. He couldn’t return to sleep so he sat on the edge of his bunk until morning, when he saw that the “e”s in “Mother Forever” had blistered, as if someone had taken a match to them.

He went to the tattoo man, who first told him not to worry, then patted the “e”s with peroxide that he warmed in a spoon with a match. Within two days, the “e”s seemed to just melt away, each dissolving into an ugly pile at the base of the tattoo. After a week, the diseased “e”s began spreading their work to the other letters, and Caesar couldn’t move his arm without pain. He went to the infirmary. They gave him aspirin and Band-Aided the tattoo. He was back the next day, the day the doctor was there.

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