Trajectory

Richard Russo, 1949-

Book - 2017

"In this pair of novellas and two stories, Russo's characters bear little similarity to the blue-collar citizens we're familiar with from most of his novels. In "Horseman," a tenured professor confronts a young plagiarist as well as her own weaknesses as the Thanksgiving holiday approaches--"And after that, who knew?" In "Intervention," a realtor facing an ominous medical prognosis finds himself in his father's shadow while he presses forward, or not. In "Voice," a semi-retired English professor is conned by his increasingly estranged brother into coming along on a group tour of the Biennale, fleeing a mortifying incident with a traumatized student back in Massachusetts but encount...ering further complications en route. And in "Milton and Marcus," a lapsed novelist is struggling with his wife's illness and trying to rekindle his screenwriting career, only to be stymied by the pratfalls of that trade when he's called to an aging, iconic star's mountaintop in Wyoming"--

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Published
New York : Alfred A. Knopf 2017.
Language
English
Main Author
Richard Russo, 1949- (author, -)
Edition
First edition
Physical Description
243 pages ; 22 cm
ISBN
9781101947722
  • Horseman
  • Voice
  • Intervention
  • Milton and Marcus.
Review by New York Times Review

THE MINISTRY OF UTMOST HAPPINESS, by Arundhati Roy. (Vintage, $16.95.) In her first novel since her Booker Prize-winning book, "The God of Small Things," Roy explores India's political turmoil, particularly the Kashmiri separatist movement, through the lives of social outcasts. Our reviewer, Karan Mahajan, praised the story's "sheer fidelity and beauty of detail," writing that Roy the novelist has returned "fully and brilliantly intact." WHERE THE WATER GOES: Life and Death Along the Colorado River, by David Owen. (Riverhead, $16.) The Colorado is in peril. Drought, climate change and overuse are draining the river - an important source of water, electricity and food. Owen, a staff writer at The New Yorker, visits farms, reservoirs and power plants along its route, and considers what actions could help preserve the river. WHAT TO DO ABOUT THE SOLOMONS, by Bethany Ball. (Grove, $16.) A financial scandal threatens to upend the branches of a Jewish family in this wry debut novel. When Marc, an Israeli transplant in Los Angeles, is implicated in a laundering scheme, the Solomons back on a Jordan River Valley kibbutz must try to make sense of the news. Balancing literary and political history, Ball renders her characters with sensitivity and strains of dark humor. MARTIN LUTHER: Renegade and Prophet, by Lyndal Roper. (Random House, $20.) A penetrating biography focuses on Luther's upbringing, religious formation and inner life as he articulated his theological arguments and grappled with fame and scrutiny. "I want to understand Luther himself," Roper, a historian at Oxford, writes of her project. "I want to explore his inner landscapes so as to better understand his ideas about flesh and spirit, formed in a time before our modern separation of mind and body." RISE THE DARK, by Michael Koryta. (Back Bay/ Little, Brown, $15.99.) In Montana, a messianic leader plans to shut down a power grid that supplies electricity to half the country, with a woman taken hostage to ensure the scheme goes through. Her captor is the same man that Markus Novak, a private investigator and the central character, believes killed his wife, drawing together a painful personal reckoning and terrorist plot. SURFING WITH SARTRE: An Aquatic Inquiry into a Life of Meaning, by Aaron James. (Anchor, $15.95.) The author, a philosophy professor at the University of California, Irvine, outlines the system of meaning underpinning his favorite pastime. As James writes, if he were to debate with Sartre, one of his intellectual heroes, he'd draw on the tao of surfing: its ideas about freedom, power, happiness and control.

Copyright (c) The New York Times Company [August 30, 2019]
Review by Booklist Review

*Starred Review* In a cohesive and astute collection of short stories, Russo eschews the middle-class working Everyman he portrays in such novels as Everybody's Fool (2016) and revisits ground familiar to fans of his academic satire, Straight Man (1998), and the poignant Bridge of Sighs (2008). In doing so, he probes the tender egos and fractured psyches of academics and writers and ponders the tenuous ties that bind brother to brother, father to son, husband to wife. The lopsided world of the modern university is exposed when a professor's confrontation with a plagiarizing student challenges her own career and marriage in Horseman, while a semiretired professor is conned into accompanying his brother on a trip to Venice, where the exotic change of scene serves only to remind them of failed relationships at home and abroad. A struggling real-estate agent faces an emotional and physical crisis in Intervention, while an erstwhile screenwriter navigates Hollywood's mercurial egos in Milton and Marcus. Getting into the minds of Russo's characters, no matter their background, is a singularly satisfying journey. Very few writers so thoroughly embrace human foibles, or present them in such an accepting and empathic manner.--Haggas, Carol Copyright 2017 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

The four stories in Russo's (Everybody's Fool) new collection are all winners, and one is a standout. His familiar blue-collar denizens of dying mill towns are not present here; these characters are professionals, middle-aged or beyond, successful in their careers but feeling weathered by life's vicissitudes. The trajectory they travel involves coming to terms with life-changing situations and gamely going on. As always, snappy banter defines personality; Russo's ear for dialogue is superb. In "Horseman," a female professor's confrontation with a student plagiarist forces her to acknowledge the coldness in her nature that has kept her from producing significant work and establishing a deep emotional relationship with her husband and son. In "Voice," a student with acute Asperger's syndrome is the object of an obsession that embroils a professor in a scandal. The experience leads to a clarifying breakthrough with his domineering older brother. Another strained family relationship is explored in "Intervention" when a Maine realtor gains clarity about his father's behavior as he comes to terms with a dire medical diagnosis. The final story, "Milton and Marcus," is the most satisfying: a novelist whose work has lost vitality has a chance to write a movie from one of his forgotten scripts, but to do so he must ignore his own ethical standards. Russo develops these stories with smooth assurance, allowing readers to discover layers of meaning in his perfectly calibrated narration. 75,000-copy announced first printing. (May) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Of these four short fiction pieces from -Pulitzer Prize winner Russo, two are English Department tales, although neither is as antic as his Straight Man, arguably the best novel ever in this genre. In the relatively tepid "Horseman," a professor deals with a problematic plagiarizing student; in "Voice," an elderly professor is conned into a tour of Venice, possibly (or not) to reconcile with his egoist brother while anguishing over an awful incident with a student with Asperger's. The antic is more present in "Intervention," where a real estate agent is asked to deal with a serious medical condition, an insistent and erratic property owner, and a weird prospective customer. "Milton and Marcus" offers an inactive novelist whose screenwriting career may suddenly revive when a long-forgotten "idea" comes to light and he is invited to the Jackson Hole retreat of aging superstar William Nolan and a bunch of Hollywood operators; this one sends up the film industry in a way that does honor to the aforementioned Straight Man. The latter two stories are the best. VERDICT A bit uneven but with many high points, this collection is not as engaging as the author's world-class long fiction, but still, be aware, this is Richard Russo. [See Prepub Alert, 11/27/16.]--Robert E. Brown, Oswego, NY © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

Four brief but potent and surprising tales of midlife crises from the ever dependable Russo (Everybody's Fool, 2016, etc.).The main characters in each of these stories are accomplished people who are thrust into what initially seem like modest predicaments. The professor in "Horseman" is dealing with a plagiarizing student; the professor in "Voice" is squabbling with his brother on a vacation in Italy; the real estate agent in "Intervention" is having a hard time moving a hoarder's home; and the novelist in "Milton and Marcus" is wary of the producers asking him to revisit a screenplay he sketched out years before. But with a keen eye for detail, dashes of humor, and a knack for bouncing his characters' presents against their pasts, Russo makes these stories robust studies about the regrets they've picked up over the years. In "Voice," the longest and best of this batch, the professor's estrangement from his brother stokes memories of a recent scandal over his treatment of a closed-off student, which in turn influences his careful flirtation with a woman in his tour group. For the professor in "Horseman," the bad student is a prompt for her to consider whether her professional coolness has served her well either in academia or her home life. As ever, Russo is superb at finding spots of comedy in these situations. The hoarder's home has "an espresso machine the size of a snowmobile"; the frustrated screenwriter thinks, "a smart man would've left it right there, but he didn't seem to be around." This gives the four stories a peculiar sameness; the narration shares a melancholy/buoyant tone regardless of setting. But the autumnal mood fits for these tales of reckonings, and Russo rarely wastes a word, interweaving details and dialogue into master classes on storytelling. "Some writers have less fuel in the tank than others," one of his characters laments, but Russo himself is chugging along just fine. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

Intervention Thirty-two degrees, according to the dashboard thermometer, so . . . maybe. In warm weather the garage door duti-fully lumbered up and over the section of bent track, but below freezing it invariably stuck and you had to get out, remote in hand, and manually yank the door past the spot where it caught. Within a few degrees of freezing, though, it was anybody's guess, so Ray pressed the remote and opened the driver's-side door, pre-pared to get out if he needed to. When the door shuddered past the critical point and up along the ceiling, he closed the car door again, noticing as he did so that Paula, his wife, was watching him with her O ye of little faith expression. Pulling inside, he made sure to leave her enough room to get out. Two-car was how the garage had been described when they bought the house. Ray, himself a realtor and all too familiar with such dubious representations, had squinted at the phrase in the listing information, then at the garage itself. It was probably true it could hold two small sedans, but with anything larger you'd need to pull the first car in at an angle to have enough space for the second vehicle. He'd considered calling Connie, the seller's agent, on this, but he liked her, in particular how she confessed right up front that she'd just gotten her license. She seemed genu-inely terrified of saying the wrong thing, of disclosing something that by law wasn't supposed to be mentioned or of failing to dis-close something else that was mandatory. She'd gone into real estate, she claimed, because she liked helping people find what they wanted, and she seemed blithely innocent of the fact that most people had no idea what that was, especially the ones who were defiantly confident they did. Ray doubted she would last long and wasn't surprised when, a year later, he ran into her and was told she'd embarked upon a degree in social work. Anyway, Paula had loved the house and didn't want to see the not-quite-two-car garage as a problem, though she conceded they'd probably have to find someplace else for the lawn mower and the other stuff they usually stuck in there. She argued they'd be okay if they went slow and paid attention, especially at backing out. When for the record Ray expressed grave doubts about this as a long-term solution, she asked, "What are you saying? That we're careless people?" Well, no, but they were human and there was no app for that. A person could be careful most of the time, maybe eighty percent, if you really worked at it. The way Ray saw it, human nature was flawed, almost by definition, pretty much a hundred percent of the time, which left a sizable margin for error. For nearly a year, though, they waged a successful battle against such cynicism, until one day Ray misjudged and sheared off his side-view mirror. A month later Paula--­okay, okay, she admitted, she'd been in a hurry--­backed into the metal track the garage door slid on, warping the runner and taking out a taillight. The two acci-dents, in such close proximity, represented a genuine I told you so  moment, but Ray'd given it a pass. He and Paula had been mar-ried for close to thirty years, thanks in large part to a mutual will-ingness to let an arched eyebrow do the heavy lifting of soliloquy. Tonight, though, as the garage door rattled closed behind them, palsying violently the last few feet before finally slamming down onto the concrete floor, he knew there'd be more than her eyebrow to worry about. His wife hadn't spoken a word during the ride home from the restaurant, and when the garage light went off, plunging them into complete darkness, she made no move to get out. "You hurt Vincent's feelings," she said finally.   "He had it coming," Ray said, referring to how they'd tussled briefly and pointlessly over the check. After all, it was Vinnie's sixty-fifth birthday they were celebrating, plus there were two of them and just one of him, and his halfhearted grab was really just an attempt to get in a final political dig. "This is the least I can do, bud," he said. "From now on you're paying for my health insurance." "You forget we're Democrats," Ray responded, placing his credit card on the tray. "We think people are entitled to health care. We're happy to contribute to that end." A lifelong Republi-can, Vinnie had reluctantly voted for Obama but was now suffer-ing buyer's remorse. ( The guy's not a realist . . . another Jimmy Carter . . . doesn't know how the world works. ) It had made for a trying evening.   "I'm not talking about the check," Paula said. "I'm talking about his offer."   "Which I thanked him for."   " 'Thanks, anyway,' was what you said. It sounded like 'Mind your own business.' "   "That's how I meant it." Truth be told, he'd been out of sorts from the start. They'd gone to La Dolce Vita, or, as Vinnie called it, Dolce Vita's, his favorite place, pretentious and overpriced à la Vinnie. Ray and Paula had purposely arrived a few minutes early, but of course he was already there, ready to rise from his chair with a flourish and gather Paula in. "Hey, baby," he said, as if it was still the fifties and they were all Rat Packers. "Is this stiff treating you right?"   Paula tried gently to extricate herself from his embrace, assur-ing Vinnie as she always did that Ray was treating her fine, but with everyone in the dining room watching them, Vinnie wasn't about to surrender either the pretense or the woman.   "I only mention it because we could run away, just the two of us." All of this sotto voce. "Someplace warm, with our own pri-vate cabana? Call me."   Vinnie in a nutshell: Call me. You need a table at Babbo? Call me. You need Red Sox tickets? Call me. You need to get your dog trained? Call me. You don't have a dog? Call me. Because Vin-nie always knew a guy. Sometimes from the old neighborhood, sometimes from prep school or maybe his university fraternity. Guys who normally didn't do favors, but for Vinnie . . . Only when Paula promised to call if Ray turned into a lout did Vinnie release her and turn to the patient witness of this recur-ring lunacy, and Ray extended his hand. Vinnie swatted it away, offended, as if handshakes were insulting to guys who shared deep emotional bonds without getting swishy about it. "Get outa here with that," he said, pulling Ray into one of his hugs. "How's every little thing? You okay?"   Ray, anxious to be seated, said he was right as rain.   "We need to hit the links," Vinnie said, making a Johnny Car-son golf swing. "I'm not saying I'm giving you strokes, I'm just saying." Then he spun back toward Paula, imploring, arms extended wide like a crooner's, to take in the entire restaurant. "What do you think? Best table in the house? That's how things would be every night if you were with me."   He's just lonely since Jackie died was how Paula excused such outrageous behavior, to which Ray always responded that, yeah, sure, Vinnie was lonely. The mistake would be to conclude that he was just lonely.   "He's your friend," she reminded him now in the dark garage. "He cares about you. If he knows a good surgeon--­"   "Not good, " Ray corrected her. "The best. Vinnie always knows the best guy. You'd have to be crazy to go to anybody besides Vinnie's guy."   "But that's how he is. He's just being Vincent. People like to feel important. What's so wrong with that?"   Ray would have liked to tell her but couldn't, though it did put him in mind of his uncle Jack, whom he hadn't thought about in years.   "Is this how it's going to be, then?" she said. "What do you mean?"   "I just don't see why you have to act like this. What does it get you?"   By now his eyes had adjusted to the dark enough to see that hers were glistening. "Paula," he said. "What are we talking about?" He knew, though.   "What I'd like to get through to you is that in this particu-lar circumstance . . ." She paused, seemingly poised between all-too-­understandable fear and something closer to anger. "Being you, going about things the way you usually do, isn't always a good thing."   "I should become somebody else?" "Yes," she said, taking him by surprise.   "How come Vinnie gets to be Vinnie, but I don't get to be me?" "Vinnie's not the one who--­"   "I already told you, I'll do whatever you--­" "What I want is for you to swallow your pride." "Fine," he sighed, because it was ridiculous to be sitting there in the cold damp garage, their visible breath fogging the wind-shield. "If he wants to put me in touch with this Boston guy, fine. Now, can we go inside?"   He took her silence as permission to open his door, and he did--­too far, dinging yet again the rear panel of his parked SUV. Which felt like what? Vindication was the far-­from-­comforting answer, but that's what it felt like. Excerpted from Trajectory: Stories by Richard Russo All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.