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."..Vivid...the work reflects a delicious boundary-crossing mix of literary artistry and genre-writing skill...This famously prolific writer continues to surprise us, and that in itself is something to celebrate."--Library Journal
Product Description
In addition to her novels and literary criticism, Joyce Carol Oates is also a master of the short story. In these 16 stories, all previously published in publications as diverse as "The New Yorker", the "Guardian" (UK) and "Ellery Queen" magazine, Oates explores the power of violence, loss, and grief to shape not only the psyche but the soul. The sixteen stories of Sourland beautifully resonate with the author's trademark fascination for the unpredictable in the midst of the 'ordinary' - the commingling of sexual love and violence, the tumult of family life, a predilection for dark humour, and a gift for voice. The inhabitants of Sourland are as varied as a desperate man who dons a jack-o-lantern head as a prelude to a most curious sort of courtship, a story of a stabbing many times recounted in the life of a lonely young girl, a beguiling young woman librarian whose amputee state attracts a married man and father, a girl hopelessly in love with her renegade, incarcerated cousin, and a professor's wife who finds herself tragically isolated at the party she is hosting for her beloved husband's colleagues.
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13 reviews
4 of 4 people found the following review helpful
Oates is amazing at capturing the interior emotional lives of people in extreme, violent or frightening situations.
22 Nov 2010
Format:Hardcover
The world Joyce Carol Oates creates in SOURLAND is dark, tense, wintry and hostile. With characteristic style, both lyrical and menacing, her latest collection of short stories draws readers in with mundane circumstances and asks them to experience the fear and desperation of the characters. It is an uncomfortable yet brilliant read.
Victimization, violence, loneliness and uncertainty plague the figures in these 16 stories. Several particular themes emerge: the vulnerability of widows, children at the mercy of unstable adults, and emotional instability. The scenes are at once commonplace and bizarre, and Oates is amazing at capturing the interior emotional lives of people in extreme, violent or frightening situations.
Four stories deal with women who are grieving the deaths of their husbands. In "Pumpkin-Head," Hadley is courted by an awkward young man who offers to help her around the house. But when he shows up with a jack-o'-lantern covering his face and grows increasingly agitated, Hadley realizes his intentions are not benevolent after all. In "Probate," the very recently widowed Adrienne finds herself in a Kafka-esqe courthouse where she is interrogated, strip-searched and detained after her husband's will is found to contain photographs of mutilated bodies. In the titular "Sourland," a widow named Sophie boldly reunites with a college acquaintance in the middle of the Minnesota wilderness only to find him disfigured, angry and violent. Sophie thinks "the surviving spouse" inhabits a space not much larger than a grave." That sense of confinement, isolation, dread and mortality permeates all the stories here. "Death Certificate" shows a different side of widowhood as Yvonne is predatory and brash.
It is not only women who have to face difficult, or even surreal, situations in SOURLAND. "Bonobo Momma" is a look at a strange mother-and-daughter relationship. Adelina is a former fashion model who still uses her striking looks and high-fashion lifestyle to define herself. Her 13-year-old daughter has recently undergone surgery to correct a congenital malformation of the spine. After not seeing each other in nearly two years, the pair spend a strained afternoon together. "Lost Daddy" follows a four-year-old boy and his distressed, out-of-work father on a nightmarish walk through the park. "The Story of a Stabbing," "The Beating," "The Barter," "Bounty Hunter" and "Honor Code" all have child protagonists or are the recollections of adults on defining childhood incidents.
From the affair of a beautiful double-amputee and a married father of two, to the rantings of a young man paranoid that his organs will be harvested without his consent, SOURLAND examines the dangers and heartbreak of loss and the potential for volatility it can create. In a free-wheeling linguistic style married to a taut and compelling tone, the book is the proverbial car wreck you can't help but stare at, straining for a glimpse of grisly reality and gore. The violence and pain here is visceral and the literary achievement high. SOURLAND is a grim and powerful reminder of the fragility of human life and relationships.
--- Reviewed by Sarah Rachel Egelman
Victimization, violence, loneliness and uncertainty plague the figures in these 16 stories. Several particular themes emerge: the vulnerability of widows, children at the mercy of unstable adults, and emotional instability. The scenes are at once commonplace and bizarre, and Oates is amazing at capturing the interior emotional lives of people in extreme, violent or frightening situations.
Four stories deal with women who are grieving the deaths of their husbands. In "Pumpkin-Head," Hadley is courted by an awkward young man who offers to help her around the house. But when he shows up with a jack-o'-lantern covering his face and grows increasingly agitated, Hadley realizes his intentions are not benevolent after all. In "Probate," the very recently widowed Adrienne finds herself in a Kafka-esqe courthouse where she is interrogated, strip-searched and detained after her husband's will is found to contain photographs of mutilated bodies. In the titular "Sourland," a widow named Sophie boldly reunites with a college acquaintance in the middle of the Minnesota wilderness only to find him disfigured, angry and violent. Sophie thinks "the surviving spouse" inhabits a space not much larger than a grave." That sense of confinement, isolation, dread and mortality permeates all the stories here. "Death Certificate" shows a different side of widowhood as Yvonne is predatory and brash.
It is not only women who have to face difficult, or even surreal, situations in SOURLAND. "Bonobo Momma" is a look at a strange mother-and-daughter relationship. Adelina is a former fashion model who still uses her striking looks and high-fashion lifestyle to define herself. Her 13-year-old daughter has recently undergone surgery to correct a congenital malformation of the spine. After not seeing each other in nearly two years, the pair spend a strained afternoon together. "Lost Daddy" follows a four-year-old boy and his distressed, out-of-work father on a nightmarish walk through the park. "The Story of a Stabbing," "The Beating," "The Barter," "Bounty Hunter" and "Honor Code" all have child protagonists or are the recollections of adults on defining childhood incidents.
From the affair of a beautiful double-amputee and a married father of two, to the rantings of a young man paranoid that his organs will be harvested without his consent, SOURLAND examines the dangers and heartbreak of loss and the potential for volatility it can create. In a free-wheeling linguistic style married to a taut and compelling tone, the book is the proverbial car wreck you can't help but stare at, straining for a glimpse of grisly reality and gore. The violence and pain here is visceral and the literary achievement high. SOURLAND is a grim and powerful reminder of the fragility of human life and relationships.
--- Reviewed by Sarah Rachel Egelman
13 of 18 people found the following review helpful
down side of relationships
19 Sep 2010
Format:Hardcover
Sourland is a super anthology that focuses on the down side of relationships with the typical Joyce Carol Oates' themes of violence and loss leading to psychological traumas. This makes for a strong insightful collection with no losers. In "Pumpkin-Head", "Sourland," and "Probate" lonely susceptible widows having recently lost their protective mates and encounter an ugly new world order when males use them or the bureaucracy abuses them. In "Bonobo Momma", Ms. Oates turns upside down her usual lethal male when a rapacious former model is the nasty player. In haunting "Daddy Lost", mommy puts people to sleep at the medical clinic while daddy stays home after being downsized to watch over frightened little Tod. In "Honor Code", she knows her life is before and after cousin Sonny or more descriptive before and after manslaughter. Though printed in a variety of magazines in similar form, with these sixteen short stories, Ms. Oates provides a profound look at the dark side of relationships with beasts feasting and "Beating" on the vulnerable.
Harriet Klausner
Harriet Klausner
1 of 1 people found the following review helpful
From Transparent to Opaque
24 April 2011
Format:Hardcover
I have always admired Oates as a short-story writer and as a novelist. In many ways I think she's better in short stories, as their length doesn't allow her the indulgence in which she engages in many of her novels. (I have heard a rumor that she doesn't allow herself to be edited in any way. I wonder if this is true.)
The problem with short story collections is often that they seem sort of thrown together with no real thread to make them work as a whole. The theme of SOURLAND might be the soured relationships between people, misunderstanding as a result of unspoken or conflicting expectations. A few of the stories are quite frankly opaque. "The Story of the Stabbing," "Uranus," and "Donor Organs" are all set pieces that don't seem to have a lot to say. "The Death Certificate," about a chance encounter between two former extramarital lovers, was an insightful piece about the differences in what makes men tick vs. what makes women tick. "Amputee" is a very odd/strange/Gothic story about an amputee and her sexual power, almost as if having a limb removed has given her a level of power that fully limbed person could not have. Interesting, provocative, a little disturbing.
For me, though, the most touching and telling story is "The Barter," about a boy whose father is sick and dying, and who is looking for friendship and support - and what happens to him. It's quite a powerful story, and I have to wonder how Oates knows the adolescent male psyche so well.
I don't think this is Oates' most accessible short story collection, so it's probably best for those who can get carried away by her writing and her unmistakable voice, even when you just want to shake her characters and tell them to "snap out of it" - because many, many central characters are amazingly self-centered. I am giving the book 4 stars if you're an Oates fan, but it's probably only a 3-star book if you're coming to Oates afresh. The woman is simply an incredible writer and she is never boring, a significant feat (I think) when so much of modern "serious" fiction is always horribly pretentious and dull. But I have found some of the more mysterious/Gothic collections, such as THE COLLECTOR OF HEARTS, much more fun to read.
The problem with short story collections is often that they seem sort of thrown together with no real thread to make them work as a whole. The theme of SOURLAND might be the soured relationships between people, misunderstanding as a result of unspoken or conflicting expectations. A few of the stories are quite frankly opaque. "The Story of the Stabbing," "Uranus," and "Donor Organs" are all set pieces that don't seem to have a lot to say. "The Death Certificate," about a chance encounter between two former extramarital lovers, was an insightful piece about the differences in what makes men tick vs. what makes women tick. "Amputee" is a very odd/strange/Gothic story about an amputee and her sexual power, almost as if having a limb removed has given her a level of power that fully limbed person could not have. Interesting, provocative, a little disturbing.
For me, though, the most touching and telling story is "The Barter," about a boy whose father is sick and dying, and who is looking for friendship and support - and what happens to him. It's quite a powerful story, and I have to wonder how Oates knows the adolescent male psyche so well.
I don't think this is Oates' most accessible short story collection, so it's probably best for those who can get carried away by her writing and her unmistakable voice, even when you just want to shake her characters and tell them to "snap out of it" - because many, many central characters are amazingly self-centered. I am giving the book 4 stars if you're an Oates fan, but it's probably only a 3-star book if you're coming to Oates afresh. The woman is simply an incredible writer and she is never boring, a significant feat (I think) when so much of modern "serious" fiction is always horribly pretentious and dull. But I have found some of the more mysterious/Gothic collections, such as THE COLLECTOR OF HEARTS, much more fun to read.
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