From Publishers Weekly
"[W]as there anybody who wasn't here to get over something too?" wonders the narrator in the sublime "Offertory." Not in this book, Hempel's fourth collection (after 1997's Tumble Home), as unnamed narrators struggle with breakups, disillusionment, loss. Two marriages come to grief in the title story: the narrator's husband falls in love with someone else, while her gift of a dog has tragic consequences for another couple. In "Jesus Is Waiting," a woman mourning the loss of her lover's affection drives obsessively, becoming a connoisseur of truck stops and budget motels, "moved to tears when the lane I am in merges with another." The 50-year-old narrator of "The Uninvited" muses on the eponymous movie as she delays taking a pregnancy test; the potential father is either her estranged husband or her rapist. Dogs appear often, as creatures more giving and wise than the men and women who own them. All the remarkable, original obliqueness of Hempel's previous work is here, but with slightly less of its heart, and an earlier lightheartedness has been exchanged for a kind of gorgeous severity, as if each story began at four times its length and was stripped away until only what was essential remained. Though it's not the most accessible of collections, it's deeply affecting, as Hempel paints a fictional world that is sharp and lonely but also marked by beauty and unexpected generosity. Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
*Starred Review* Hempel's new collection of stories arrives at love from every angle: in, near, outside, beyond, and approaching. The love in her world is described in textures and small but important details. These are memorable objects, like the potted amaryllis in the backseat of the narrator's car in "Jesus Is Waiting," or the range of food brought to the widower by well-meaning women in "The Afterlife," or the strange bottles of liquor found in the kitchen of the lover in "Offeratory." These objects, imbued with such sudden meaning, resonate against the muted tone of Hempel's prose. The title story, for example, is actually a series of marriage snapshots, each pressing the family dog into a new role, central on the surface but, on further consideration, representative of other, more truly central issues in modern Western marriages. It is without question the highlight of the collection, though other bright spots emerge as well--in particular, "The Uninvited," a haunting and tense account of a 50-year-old woman who is waiting to take a pregnancy test after being raped. Hempel handles the treatment of pain and love with a combination of confusion, resignation, and healthy respect. If this were music, it would be played in a modal tuning, dark and timeless. Debi Lewis
Copyright © American Library Association. All rights reserved
Review
"Amy Hempel is one of our masters of offhandedly rendered dire emotional states. Her fiction is breath-catchingly tender and funny. With The Dog of the Marriage she turns her stunningly dispassionate and compassionate eye to erotic love and longing, to characters who let passion prevail. The stories that result are both spectacularly intimate and beautifully built, and bring us back to the question that powers all her work: Can we take each other in?" -- Jim Shepard, author of Project X and Love and Hydrogen
"Tumble Home is the kind of book you can open anywhere and the prose wins your absolute trust. There's not a soggy patch or word. It's wonderful. I love it." -- Alice Munro, author of Runaway
"In airports and on trains, the toughest part of reading The Dog of the Marriage is how much your jaw muscles ache from the effort it takes to not laugh and cry in front of strangers. Amy Hempel is my god among writers." -- Chuck Palahniuk, author of Fight Club and Haunted
Review
"Hempel writes with an effortless wit...showing us the larger shapes of our lives by capturing their most fleeting and fragmentary moments." -- Elizabeth Gleick, The New York Times Book Review
Book Description
Amy Hempel's compassion, intensity, and illuminating observations have made her one of the most distinctive and admired modern writers. In three stunning books of stories, she has established a voice as unique and recognizable as the photographs of Cindy Sherman or the brushstrokes of Robert Motherwell. The Dog of the Marriage, Hempel's fourth collection, is about sexual obsession, relationships gone awry, and the unsatisfied longings of everyday life. In "Offertory," a modern-day Scheherazade entertains and manipulates her lover with stories of her sexual encounters with a married couple as a very young woman. In "Reference # 388475848-5," a letter contesting a parking ticket becomes a beautiful and unnerving statement of faith. In "Jesus Is Waiting," a woman driving to New York sends a series of cryptically honest postcards to an old lover. And the title story is a heartbreaking tale about the objects and animals and unmired desires that are left behind after death or divorce. These nine stories teem with wisdom, emotion, and surprising wit. Hempel explores the intricate psychology of people falling in and out of love, trying to locate something or someone elusive or lost. Her sentences are as lean, original, and startling as any in contemporary fiction.
Dog of the Marriage: Stories FROM THE PUBLISHER
"The Dog of the Marriage, Amy Hempel's fourth collection, is about sexual obsession, relationships gone awry, and the unsatisfied longings of everyday life." In "Offertory," a modern-day Scheherazade entertains and manipulates her lover with stories of her sexual encounters with a married couple as a very young woman. In "Reference #388475848-5," a letter contesting a parking ticket becomes a beautiful and unnerving statement of faith. In "Jesus Is Waiting," a woman driving to New York sends a series of cryptically honest postcards to an old lover. And the title story is a heartbreaking tale about the objects and animals and unmired desires that are left behind after death or divorce.
FROM THE CRITICS
D. T. Max - The New York Times
The narrators of The Dog of the Marriage, use their impressive intelligences to tamp down their emotions, and there is something even more sad about their inability to express their pain for the very sophistication they bring to it. Why, if they are stressed or frantic, do they not just tell us so? And if they spend every living moment being horrified at the mess they have made of their lives, why displace their feelings onto, say, a missing dog? To which my answer would be: reading The Dog of the Marriage, you understand they have no other choice -- and the rest of us don't either.
Publishers Weekly
"[W]as there anybody who wasn't here to get over something too?" wonders the narrator in the sublime "Offertory." Not in this book, Hempel's fourth collection (after 1997's Tumble Home), as unnamed narrators struggle with breakups, disillusionment, loss. Two marriages come to grief in the title story: the narrator's husband falls in love with someone else, while her gift of a dog has tragic consequences for another couple. In "Jesus Is Waiting," a woman mourning the loss of her lover's affection drives obsessively, becoming a connoisseur of truck stops and budget motels, "moved to tears when the lane I am in merges with another." The 50-year-old narrator of "The Uninvited" muses on the eponymous movie as she delays taking a pregnancy test; the potential father is either her estranged husband or her rapist. Dogs appear often, as creatures more giving and wise than the men and women who own them. All the remarkable, original obliqueness of Hempel's previous work is here, but with slightly less of its heart, and an earlier lightheartedness has been exchanged for a kind of gorgeous severity, as if each story began at four times its length and was stripped away until only what was essential remained. Though it's not the most accessible of collections, it's deeply affecting, as Hempel paints a fictional world that is sharp and lonely but also marked by beauty and unexpected generosity. Agent, Liz Darhansoff. (Mar. 1) Copyright 2005 Reed Business Information.
Library Journal
You can read the notes to these stories, all appearing on one page, as if they were a story. Hempel's (Reasons To Live) seven spare and enigmatic sentences identify quotations and allusions. Together, the references to Patricia Highsmith, a thanatologist, an obscure filmmaker, and Swinburne suggest something strange, if not menacing. In fact, the stories resemble the notes. "Memoirs" has only one sentence. The first-person female narrators are distraught. The title story, the longest and most coherent, involves a woman whose husband left her and another woman whose husband was killed by a car when he chased their dog, which had been trained by the first woman. In the last story, a woman maintains her lover's interest by describing her earlier sexual experiences in a threesome. "The Uninvited" creates a parallel between the mystery film of the same title and the narrator's possible pregnancy. Suitable for contemporary fiction collections. [See Prepub Alert, LJ 12/04.]-Elaine Bender, El Camino Coll., Torrance, CA Copyright 2005 Reed Business Information.
Kirkus Reviews
Another slim volume from Hempel (Tumble Home, 1997, etc.), the theme this time being skewed and skewered relationships (and, yes, there are dogs in many of the stories). Most of the nine pieces involve a narrator coping with the end of a relationship. In "Jesus Is Waiting," Hempel captures the frenzy of a breakup through a narrator who embarks upon the "geographic cure": long bouts of driving along the highways while listening to the Al Green tape that the man who won't speak to her made while he still did. In "The Uninvited," the narrator is preparing to take a pregnancy test ("I was fifty years old and ten days late. If menopausal, go on estrogen; if pregnant, go on welfare"), the potential father being either her estranged husband or a fellow student who came by to pass along class notes and ended up raping her. The title story begins on the last night of a marriage, at the ballet, and follows the narrator through the comforts she gains by training dogs for the blind. In "Beach Time," the narrator lives next door to careless summer renters who toss their empty Coronas (limes still inside) over the privet hedge and are heedless of the fact that sound carries over water. Their marriage falls apart within her earshot, while she worries because they're not watering her neighbor's orchids. Of questionable value are "Memoir," a single-sentence short-short that doesn't carry the wit or weight of a run-of-the-mill one-liner, and "Reference #388475848-5," a rant to the New York City Parking Violations Bureau. But then there's "Offertory," a longer piece about a young woman who tells her lover erotic stories from a past affair with a married man and woman, a meditation on storytelling and sexthat is stunning in its overall effect. Sketchy, in all, with moments of the breathtaking language that characterizes Hempel's best work. Agent: Liz Darhansoff/Darhansoff, Verrill, Feldman
Art & Photography
Book Info
