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A superb collection of fifteen stories by an American master, E. L. Doctorow—the author of Ragtime, The March, The Book of Daniel, and Billy Bathgate
He has been called “a national treasure” by George Saunders. Doctorow’s great topic, said Don DeLillo, is “the reach of American possibility, in which plain lives take on the cadences of history.” This power is apparent everywhere in these stories: the bravery and self-delusion of people seeking the American dream; the geniuses, mystics, and charlatans who offer people false hope, or an actual glimpse of greatness.
In “A House on the Plains,” a mother has a plan for financial independence, which may include murder. In “Walter John Harmon,” a man starts a cult using subterfuge and seduction. “Jolene: A Life” follows a teenager who escapes her home for Hollywood on a perilous quest for success. “Heist,” the account of an Episcopal priest coping with a crisis of faith, was expanded into the bestseller City of God. “The Water Works,” about the underbelly of 1870s New York, grew into a brilliant novel. “Liner Notes: The Songs of Billy Bathgate” is a corollary to the renowned novel and includes Doctorow’s revisions.
These fifteen stories, written from the 1960s to the early twenty-first century, and selected, revised, and placed in order by the author himself shortly before he died in 2015, are a testament to the genius of E. L. Doctorow.
Praise for Doctorow: Collected Stories
“Here, without the framework of historical context that defines his best-known novels, we discover a Doctorow equally adept at plumbing the contemporary American psyche and are reminded of literature’s loss following his death in 2015.”—O: The Oprah Magazine
“These tales—sketches, really, wide-ranging in time, place and circumstances—are penned by a modern master. . . . What makes Doctorow’s historical novels brilliant is their engaging prose, smart writerly style, unconventional narratives and inventive and entertaining plots. Same for these dog-eared, pre-owned stories.”—USA Today
“[These stories] remind us of his singular talent. . . . They come together here and underscore a genius at work.”—The National Book Review
Praise for E. L. Doctorow
“He has rewarded us, these forty-five years, with a vision of ourselves, as a people, a vision possessed of what I might call ‘aspirational verve’—he sees us clearly and tenderly, just as we are, but also sees past that—to what we might, at our best, become.”—George Saunders
“Doctorow did not so much write fiction about history as he seemed to occupy history itself. He owned it. He made it his own.”—Ta-Nehisi Coates
“On every level, [Doctorow’s] work is powerful. . . . His sensitivity to language is perfectly balanced, and complemented by a gigantic vision.”—Jennifer Egan
“[Doctorow wrote] with such stunning audacity that I can still remember my parents’ awed dinner-table conversation, that summer, about a novel they were reading, called Ragtime, that went up to the overgrown wall enclosing the garden of fiction and opened the doorway to history.”—Michael Chabon
“Doctorow’s prose tends to create its own landscape, and to become a force that works in opposition to the power of social reality.”—Don DeLillo
“A writer of dazzling gifts and boundless imaginative energy.”—Joyce Carol Oates
Under the Cover
An excerpt from Doctorow: Collected Stories
One spring day I walked in the meadow behind the barn and felt rising around me the exhalations of the field, the moist sweetness of the grasses, and I imagined the earth’s soul lifting to the warmth of the sun and mingling me in some divine embrace. There was such brilliant conviction in the colors of the golden hay meadow, the blue sky, that I could not help laughing. I threw myself down in the grass and spread my arms. I fell at once into a trance and yet remained incredibly aware, so that whatever I opened my eyes to look at I did not merely see but felt as its existence. Such states come naturally to children. I was resonant with the hum of the universe, I was made indistinguishable from the world in a great bonding of natural revelation. I saw the drowse of gnats weaving between the grasses and leaving infinitesimally fine threads of shimmering net, so highly textured that the breath of the soil below lifted it in gentle billows. Minute crawling life on the stalks of hay made colossal odyssey, journeys of a lifetime, before my eyes. Yet there was no thought of miracle, of the miracle of microscopic sentience. The scale of the universe was not pertinent, and the smallest indications of energy were in proportion to the sun, which lay like an Egyptian eye between the stalks, and lit them as it lights the earth, by halves. The hay had fallen under me so that my own body’s outline was patterned on the field, the outspread legs and arms, the fingers, and I was aware of my being as the arbitrary shape of an agency that had chosen to make me in this manner as a means of communicating with me. The very idea of a head and limbs and a body was substantive only as an act of communication, and I felt myself in the prickle of the flattened grass, and the sense of imposition was now enormous, a prodding, a lifting of this part of the world that was for some reason my momentary responsibility, that was giving me possession of itself. And I rose and seemed to ride on the planes of the sun, which I felt in fine striations, alternated with thin lines of the earth’s moist essences. And invisibled by my revelation, I reached the barn and examined the face of it, standing with my face in the painted whiteness of its glare as a dog or a cat stands nose to a door until someone comes and lets it out. And I moved along the white barn wall, sidestepping until I came to the window which was a simple square without glass, and could only be felt by the geometrical coolness of its volume of inner air, for it was black within. And there I stood, as if in the mouth of a vacuum, and felt the insubstantial being of the sun meadow pulled past me into the barn, like a torrential implosion of light into darkness and life into death, and I myself too disintegrated in that force and was sucked like the chaff of the field in that roaring. Yet I stood where I was. And in quite normal spatial relationship with my surroundings felt the sun’s quiet warmth on my back and the coolness of the cool barn on my face. And the windy universal roar in my ears had narrowed and refined itself to a recognizable frequency, that of a woman’s pulsating song in the act of love, the gasp and note and gasp and note of an ecstatic score. I listened. And pressed upon by the sun, as if it were a hand on the back of my neck, I moved my face into the portal of the cool darkness, and no longer blinded by the sunlight, my eyes saw on the straw and in the dung my mother, denuded, in a pose of utmost degradation, a body, a reddened headless body, the head enshrouded in her clothing, everything turned inside out, as if blown out by the wind, all order, truth, and reason, and this defiled mama played violently upon and being made to sing her defilement. How can I describe what I felt! I felt I deserved to see this! I felt it was my triumph, but I felt monstrously betrayed. I felt drained suddenly of the strength to stand. I turned my back and slid down the wall to a sitting position under the window. My heart in my chest banged in sickened measure of her cries. I wanted to kill him, this killer of my mother who was killing her. I wanted to leap through the window and drive a pitchfork into his back, but I wanted him to be killing her, I wanted him to be killing her for me. I wanted to be him. I lay on the ground, and with my arms over my head and my hands clasped and my ankles locked, I rolled down the slope behind the barn, through the grass and the crop of hay. I flattened the hay like a mechanical cylinder of irrepressible force rolling fast and faster over rocks, through rivulets, across furrows and over hummocks of the uneven imperfect flawed irregular earth, the sun flashing in my closed eyes in diurnal emergency, as if time and the planet had gone out of control. As it has. (I am recalling these things now, a man older than my father when he died, and to whom a woman of my mother’s age when all this happened is a young woman barely half my age. What an incredible achievement of fantasy is the scientific mind! We posit an empirical world, yet how can I be here at this desk in this room—and not be here? If memory is a matter of the stimulation of so many cells of the brain, the greater the stimulus—remorse, the recognition of fate—the more powerfully complete becomes the sensation of the memory until there is transfer, as in a time machine, and the memory is in the ontological sense another reality.) Papa, I see you now in the universe of your own making. I walk the polished floorboards of your house and seat myself at your dining table. I feel the tassels of the tablecloth on the tops of my bare knees. The light of the candelabra shines on your smiling mouth of big teeth. I notice the bulge of your neck produced by your shirt collar. Your pink scalp is visible through the close-cropped German-style haircut. I see your head raised in conversation and your white plump hand of consummate gesture making its point to your wife at the other end of the table. Mama is so attentive. The candle flame burns in her eyes and I imagine the fever there, but she is quite calm and seriously engrossed by what you say. Her long neck, very white, is hung with a thin chain from which depends on the darkness of her modest dress a cream-colored cameo, the carved profile of another fine lady of another time. In her neck a soft slow pulse beats. Her small hands are folded and the bones of her wrists emerge from the touch of lace at her cuffs. She is smiling at you in your loving proprietorship, proud of you, pleased to be yours, and the mistress of this house, and the mother of this boy. Of my tutor across the table from me who idly twirls the stem of his wineglass and glances at her, she is barely aware. Her eyes are for her husband. I think now Papa her feelings in this moment are sincere. I know now each moment has its belief and what we call treachery is the belief of each moment, the wish for it to be as it seems to be. It is possible in joy to love the person you have betrayed and to be refreshed in your love for him, it is entirely possible. Love renews all faces and customs and ideals and leaves the bars of the prison shining. But how could a boy know that? I ran to my room and waited for someone to follow me. Whoever dared to enter my room, I would attack—would pummel. I wanted it to be her, I wanted her to come to me, to hug me and to hold my head and kiss me on the lips as she liked to do, I wanted her to make those wordless sounds of comfort as she held me to her when I was hurt or unhappy, and when she did that I would beat her with my fists, beat her to the floor, and see her raise her hands helplessly in terror as I beat her and kicked her and jumped upon her and drove the breath from her body. But it was my tutor who, sometime later, opened the door, looked in with his hand upon the knob, smiled, said a few words, and wished me good night. He closed the door and I heard him walk up the steps to the next floor, where he had his rooms. Ledig was his name. He was a Christian. I had looked but could not find in his face any sign of smugness or leering pride or cruelty. There was nothing coarse about him, nothing that could possibly give me offense. He was barely twenty. I even thought I saw in his eyes a measure of torment. He was habitually melancholic anyway, and during my lessons his mind often wandered and he would gaze out the window and sigh. He was as much a schoolboy as his pupil. So there was every reason to refrain from judgment, to let time pass, to think, to gain understanding. Nobody knew that I knew. I had that choice. But did I? They had made my position intolerable. I was given double vision, the kind that comes with a terrible blow. I found I could not have anything to do with my kind sweet considerate mother. I found I could not bear the gentle pedagogics of my tutor. How, in that rural isolation, could I be expected to go on? I had no friends, I was not permitted to play with the children of the peasants who worked for us. I had only this trinity of Mother and Tutor and Father, this unholy trinity of deception and ignorance who had excommunicated me from my life at the age of thirteen. This of course in the calendar of traditional Judaism is the year a boy enjoys his initiation into manhood.
Meanwhile my father was going about the triumph of his life, running a farm according to the most modern principles of scientific management, astonishing his peasants and angering the other farmers in the region with his success. The sun brought up his crops, the Galician Agricultural Society gave him an award for the quality of his milk, and he lived in the state of abiding satisfaction given to individuals who are more than a match for the life they have chosen for themselves. I had incorporated him into the universe of giant powers that I, a boy, experienced in the changes of the seasons. I watched bulls bred to cows, watched mares foal, I saw life come from the egg and the multiplicative wonders of mudholes and ponds, the jell and slime of life shimmering in gravid expectation. Everywhere I looked, life sprang from something not life, insects unfolded from sacs on the surface of still waters and were instantly on the prowl for their dinner, everything that came into being knew at once what to do and did it unastonished that it was what it was, unimpressed by where it was, the great earth heaving up its bloodied newborns from every pore, every cell, bearing the variousness of itself from every conceivable substance which it contained in itself, sprouting life that flew or waved in the wind or blew from the mountains or stuck to the damp black underside of rocks, or swam or suckled or bellowed or silently separated in two. I placed my father in all of this as the owner and manager. He lived in the universe of giant powers by understanding it and making it serve him, using the daily sun for his crops and breeding what naturally bred, and so I distinguished him in it as the god-eye in the kingdom, the intelligence that brought order and gave everything its value. He loved me and I can still feel my pleasure in making him laugh, and I might not be deceiving myself when I remember the feel on my infant hand of his unshaved cheek, the winy smell of his breath, the tobacco smoke in his thick wavy hair, or his mock-wondering look of foolish happiness during our play together. He had close-set eyes, the color of dark grapes, that opened wide in our games. He would laugh like a horse and show large white teeth. He was a strong man, stocky and powerful—the constitution I inherited—and he had emerged as an orphan from the alleys of cosmopolitan eastern Europe, like Darwin’s amphibians from the sea, and made himself a landowner, a husband and father. He was a Jew who spoke no Yiddish and a farmer raised in the city. I was not allowed to play with village children, or to go to their crude schools. We lived alone, isolated on our estate, neither Jew nor Christian, neither friend nor petitioner of the Austro-Hungarians, but in the pride of the self-constructed self. To this day I don’t know how he arranged it or what hungering rage had caused him to deny every classification society imposes and to live as an anomaly, tied to no past in a world which, as it happened, had no future. But I am in awe that he did it. Because he stood up in his life he was exposed to the swords of Mongol horsemen, the scythes of peasants in revolution, the lowered brows of monstrous bankers and the cruciform gestures of prelates. His arrogance threatened him with the cumulative power of all of European history which was ready to take his head, nail it to a pole and turn him into one of the scarecrows in his fields, arms held stiffly out toward life. But when the moment came for this transformation, it was accomplished quite easily, by a word from his son. I was the agency of his downfall. Ancestry and myth, culture, history and time were ironically composed in the shape of his own boy.
E. L. Doctorow’s works of fiction include Andrew’s Brain, Homer & Langley, The March, Billy Bathgate, Ragtime, The Book of Daniel, City of God, Welcome to Hard Times, Loon Lake, World’s Fair, The Waterworks, and All the Time in the World. Among his honors are the National Book Award, three National Book Critics Circle awards, two PEN/Faulkner awards, and the presidentially conferred National Humanities Medal. In 2009 he was shortlisted for the Man Booker International Prize, honoring a writer’s lifetime achievement in fiction, and in 2012 he was inducted into the New York State Writers Hall of Fame and won the PEN/Saul Bellow Award for Achievement in American Fiction, which is given to an author whose “scale of achievement over a sustained career [places] him in the highest rank of American literature.” In 2013 he received the Gold Medal for Fiction from the American Academy of Arts and Letters and the Medal for Distinguished Contribution to American Letters from the National Book Foundation. Doctorow died in 2015.