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    Licks of Love: Short Stories and a Sequel,

    Licks of Love: Short Stories and a Sequel, "Rabbit Remembered"

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    by John Updike


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      ISBN-13: 9780307415844
    • Publisher: Random House Publishing Group
    • Publication date: 07/08/2019
    • Sold by: Penguin Group
    • Format: eBook
    • Pages: 384
    • Sales rank: 254,736
    • File size: 2 MB

    John Updike was born in 1932, in Shillington, Pennsylvania. He graduated from Harvard College in 1954, and spent a year in Oxford, England, at the Ruskin School of Drawing and Fine Art. From 1955 to 1957 he was a member of the staff of The New Yorker. He is the father of four children and the author of more than fifty books, including collections of short stories, poems, essays, and criticism. His novels have won the Pulitzer Prize (twice), the National Book Award, the National Book Critics Circle Award, the Rosenthal Award, and the Howells Medal. He lives in Massachusetts.

    Brief Biography

    Date of Birth:
    March 18, 1932
    Date of Death:
    January 27, 2009
    Place of Birth:
    Shillington, Pennsylvania
    Place of Death:
    Beverly Farms, MA
    Education:
    A.B. in English, Harvard University, 1954; also studied at the Ruskin School of Drawing and Fine Art in Oxford, England

    Read an Excerpt

    The Women Who Got Away

    Pierce Junction was an isolated New Hampshire town somewhat dignified by
    the presence of a small liberal-arts college; we survived by clustering
    together like a ball of snakes in a desert cave. The Sixties had taught us
    the high moral value of copulation, and we were slow to give up on an
    activity so simultaneously pleasurable and healthy. Still, you couldn’t
    sleep with everybody: we were bourgeoisie, responsible, with jobs and
    children, and affairs demanded energy and extracted wear and tear. We
    hadn’t learned yet to take the emotion out of sex. Looking back, the
    numbers don’t add up to what an average college student now manages
    in four years. There were women you failed ever to sleep with; these, in
    retrospect, have a perverse vividness, perhaps because the contacts, in
    the slithering ball of snakes, were so few that they have stayed distinct.

    “Well, Martin,” Audrey Lancaster murmured to me toward the end of a summer
    cruise on a boat hired out of Portsmouth in celebration of somebody or
    other’s fortieth birthday, “I see what they say about you, at last.” The
    “at last” was a dig of sorts, and the “they” was presumably female in
    gender. I wondered how much conversation went on, and along lines how
    specific, among the wives and divorcées of our set. I had been standing
    there by the rail, momentarily alone, mellow on my portion of California
    Chablis, watching the Piscataqua River shakily reflect the harbor lights
    as the boat swung to dock and the loudspeaker system piped Simon and
    Garfunkel into the warm, watery night.

    My wife was slow-dancing on the forward deck with her lover, Frank Greer.
    Audrey had materialized beside me and my hand went around her waist as if
    we might dance, too. There my hand stayed, and, like the gentle buzz you
    get from a frayed appliance cord, the reality of her haunch burned through
    to my fingers and palm. She was a solid, smooth-faced woman, so
    nearsighted that she moved with a splay-footed pugnacity, as if something
    she didn’t quite see might knock her over. Her contact lenses were always
    getting lost, in somebody’s lawn or at the back of her eyeballs. She had
    married young and was a bit younger than the rest of us. You had to love
    Audrey, seeing her out on the tennis court in frayed denim cut-offs, with
    her sturdy brown legs and big, squinty smile, taking a swing and missing
    the ball completely. Her waist was smooth and flexible in summer cotton,
    and, yes, she was right, for the first time in all our years of
    acquaintance I sensed her as a potential mate, as a piece of the cosmic
    puzzle that might fit my piece.

    But I also felt that, basically, she didn’t care for me, not enough to
    come walking through all of adultery’s risks and spasms of guilt, all
    those hoops of flame. She distrusted me, the way you distrust a
    competitor. We were both clowns, bucking to be elected Funniest in the
    Class. Further, she was taken, doubly: not only married, to a man called
    Spike, with the four children customary for our generation, but involved
    in a number of murky flirtations or infatuations, including one with my
    best friend, Rodney Miller–if a person could be said to have same-sex
    friends in our rather doctrinairely heterosexual enclave. She had a nice
    way of drawling out poisonous remarks, and said now, to me, “Shouldn’t you
    go tell Jeanne and Frank the boat is about to dock? They might get
    arrested by the Portsmouth fuzz for public indecency.”

    I said, “Why me? I’m not the cruise director.”

    Jeanne was my wife. Her love for Frank, in the twisted way of things back
    then, helped bind me to her: I felt so sorry for her, having to spend most
    of her hours with me and the children when her heart was elsewhere. She
    had been raised a French Catholic, and there was something noble for her
    about suffering and self-denial; her invisible hairshirt kept her torso
    erect as a dancer’s and added to her beauty in my eyes. I didn’t like
    Audrey mocking her. Or did I? Perhaps my feelings were more primitive,
    more stupidly possessive, than I knew at the time. I tightened my grip on
    Audrey’s waist, approaching a painful pinch, then let go, and went forward
    to where Jeanne and Frank, the music stopped, looked as if they had just
    woken up, with bloated, startled faces. Frank Greer had been married, to a
    woman named Winifred, until rather recently in our little local history.
    Divorce, which had been flickering at our edges for a decade while our
    vast pool of children slowly bubbled up through the school grades toward,
    we hoped, psychological health, was still rare, and sat raw on Frank, like
    the red cheek he had been pressing against my wife’s.

    Maureen Miller, in one of those intervals in bed when passion had been
    slaked but an awkward half-hour of usable time remained before I could in
    decency sneak away, once told me that Winifred resented the fact that, in
    the years when the affair between Frank and Jeanne was common knowledge, I
    had never made a pass at her. Winifred, sometimes called Freddy, was an
    owlish small woman, a graceful white owl, with big dark eyes and untanned
    skin and an Emily Dickinson hairdo atop a plump body that tapered to small
    and shapely hands and feet. If my wife held herself
    like a dancer, it was her lover’s wife who in fact could dance, with a
    feathery nestling and lightness of fit that had an embarrassing erotic
    effect on me. Holding her in my arms, I would get an erection, and thus I
    would prudently avoid dancing with her until the end of the evening, when
    one or the other of us, in an attempt to persuade our spouses to tear
    themselves apart, would have put on an overcoat. Otherwise, I
    was not attracted to Winifred. Like the model for her hairdo, she had
    literary ambitions and a dogmatic, clipped, willfully oblique style. She
    seemed in her utterances faintly too firm.

    “Well, I won’t say no,” she said, not altogether graciously, one night
    well after midnight when Jeanne suggested that I walk Winifred home,
    through a snowstorm that had developed during a dinner party of ours and
    its inert, boozy aftermath. Couples or their remnants had drifted off
    until just Winifred was left; she had a stern, impassive way of absorbing
    a great deal of liquor and betraying its presence in
    her system only by a slight lowering of her lids over her bright black
    eyes, and an increase of pedantry in her fluting voice. This was before
    the Greers’ divorce. Frank was absent from the party on some mysterious
    excuse of a business trip. It was the first stage of their separation, I
    realized later. Jeanne, knowing more than she let on, had extended herself
    that night like a kid sister to the unescorted woman. She kept urging
    Freddy, as the party thinned, to give us one more tale of the
    creative-writing seminar she was taking, as a special student, at our
    local college, Bradbury. Bradbury had formerly been a bleak little
    Presbyterian seminary tucked up here, with its pillared chapel, in the
    foothills of the White Mountains, but it had long loosened its
    ecclesiastical ties and in the Sixties had gone coed, with riotous results.

    “This one girl,” Winifred said, accepting what she swore was her last
    Kahlúa and brandy, “read a story that must have been very closely based on
    a painful breakup she had just gone through, and got nothing but the most
    sarcastic comments from the instructor, who seems to be a real sadist, or
    else it was his way of putting the make on her.” Her expression conveyed
    disgust and weariness with all such trans-
    actions. I supposed that she was displacing her anger at Frank onto the
    instructor, a New York poet who no doubt wished he was back in Greenwich
    Village, where the sexual revolution was polymorphous. He was a dreary
    sour condescending fellow, in my occasional brushes with him, and
    disconcertingly short as well.

    These rehashed class sessions were all fascinating stuff, if you judged
    from Jeanne’s animation and gleeful encouragement of the other woman to
    tell more. A rule of life in Pierce Junction demanded that you be
    especially nice to your lover’s spouse–by no means an insincere
    observance, for the secret sharing did breed a tortuous, guilt-warmed
    gratitude to the everyday keeper of such a treasure. But even Winifred
    through her veils of Kahlúa began to feel uncomfortable, and stood up in
    our cold room (the thermostat had retired hours ago), and put her shawl up
    around her head,
    as if fluffing up her feathers. She accepted with a frown Jeanne’s
    insistent suggestion that I escort her home. “Of course I’m in no
    condition to drive, this has been so lovely,” she said to Jeanne, with a
    handshake that Jeanne turned into a fierce, pink-faced, rather frantic (I
    thought) embrace of transposed affection.

    Winifred’s car had been plowed fast to the curb by the passing
    revolving-eyed behemoths of our town highway department, and she lived
    only three blocks away, an uphill slog in four inches of fresh snow. She
    did seem to need to take my arm, but we both stayed wrapped in our own
    thoughts. The snow drifted down with a steady whisper of its own, and the
    presence on the streets, at this profoundly nocturnal hour, of the
    churning, scraping snowplows made an effect of companionship–of a wider
    party beneath the low sky, which was glowing yellow with that strange,
    secretive phosphorescence of a snowstorm. The houses were dark, and my
    porch light grew smaller, receding down the hill. In front of her own
    door, right under a streetlamp, Winifred turned to face me as if, in our
    muffling clothes,
    to dance; but it was only to offer up her pale, oval, rather frozen and
    grieving face for me to kiss. Snowflakes were caught in the long lashes of
    her closed lids and spangled the arc of parted dark hair left exposed by
    her shawl. I felt the usual arousal. The house behind her held only
    sleeping children. Its clapboard face, needing a coat of paint, looked
    shabby, betraying the distracted marriage within.

    There was, in Pierce Junction, a romance of other couples’ houses–the
    merged tastes, the accumulated furniture, the framed photographs going
    back to the bridal day and the premarital vacation spots. We loved being
    guests and hosts both, but preferred being guests, invasive and
    inquisitive and irresponsible. Did she expect me to come in? It didn’t
    strike me as at all a feasible idea–at my back, down the hill, Jeanne
    would be busy tidying up the party wreckage in our living room and resting
    a despairing eye on the kitchen clock with its sweeping red second hand.
    Tiny stars of ice clotted my own lashes as I kissed our guest good night,
    square on the mouth but lightly, lightly, with liquor-glazed subtleties of
    courteous regret. Of all the kisses I gave and received in Pierce
    Junction, from children and adults and golden retrievers, that chaste
    crystalline one has remained unmelted in my mind.

    When I returned to the house, Frank, surprisingly, was sitting in the
    living room, holding a beer and wearing a rumpled suit, his long face pink
    as if after great exertion. Jeanne, too tired to be flustered, explained,
    “Frank just got back from his trip. The plane into the Manchester airport
    almost didn’t land, and when he found Freddy not at their home he thought
    he’d swing down here and pick her up.”
    “Up and down that hill in this blizzard?” I marvelled. I didn’t remember
    any car going by.
    “We have four-wheel drive,” Frank said, as if that explained everything.


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    In this brilliant late-career collection, John Updike revisits many of the locales of his early fiction: the small-town Pennsylvania of Olinger Stories, the sandstone farmhouse of Of the Farm, the exurban New England of Couples and Marry Me, and Henry Bech’s Manhattan of artistic ambition and taunting glamour. To a dozen short stories spanning the American Century, the author has added a novella-length coda to his quartet of novels about Harry “Rabbit” Angstrom. Several strands of the Rabbit saga come together here as, during the fall and winter holidays of 1999, Harry’s survivors fitfully entertain his memory while pursuing their own happiness up to the edge of a new millennium. Love makes Updike’s fictional world go round—married love, filial love, feathery licks of erotic love, and love for the domestic particulars of Middle American life.

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    bn.com
    Harry "Rabbit" Angstrom's been dead for a decade, but John Updike is alive and well -- and writing some of his best work to date. Licks of Love is a collection of 12 stunning short stories and a novella, "Rabbit Remembered," a sequel to Updike's acclaimed Rabbit Angstrom novels. In it, readers are offered the opportunity to revisit one of their all-time favorite fictional locales: Brewer, Pennsylvania, home of Harry's widow, his longtime lover, his son, and his son's wife. In the last months of 1999 the dead man's survivors keep Harry's memory alive and attempt to secure a small happiness as the curtain rises on the second millennium.
    Publishers Weekly - Publisher's Weekly
    Harry "Rabbit" Angstrom has been dead for a decade in Rabbit Remembered, the novella that closes this latest, richly evocative Updike collection. His widow, Janice, is married to Ronnie Harrison, the widower of Thelma, with whom Harry had a long-time liaison. His son Nelson's wife, Pru, whom Harry also briefly bedded, has left Nelson, who has kicked the coke habit and still lives in the old Springer house with Janice and Ronnie. The past surfaces unexpectedly when Annabelle Byers, Harry's illegitimate daughter, makes herself known to the family. The ramifications of Harry's legacy include a strained Thanksgiving dinner that degenerates into political argument and acrimonious insults, and a mordantly funny flashback to a scene in which Harry's cremated remains were inadvertently left on a closet shelf in a Comfort Inn. While Updike explores the dark territory of bitterness, resentment and guilt, he also includes his trademark ticker-tape of current events (Hillary's candidacy, etc.), a typically muddled millennium New Year's Eve and a surprisingly upbeat denouement. For Rabbit fans, this is a must-read. In addition, the 12 short stories collected here present a kaleidoscope of Updike settings and themes. One element is common to nearly all the tales: the protagonist is a libidinous married man, ever on the lookout for adulterous adventures. In all of them, nostalgia is pierced with insight and regret. This is a treasury of Updike's craft, each story a small gem. 60,000 first printing; first serial to the New Yorker. (Nov.) Copyright 2000 Cahners Business Information.
    Library Journal
    At the end of Rabbit at Rest, the dying Rabbit briefly considers telling his son about Annabelle, his illegitimate daughter, then decides against it. "Enough," he thinks. So when Annabelle turns up on Janice Angstrom's doorstep in 1999, the reader is just as surprised as Janice. But "Rabbit Remembered" is not a misguided attempt to resurrect the dead hero. Think of it instead as a novella about aging and loss, with guest appearances by the Angstrom clan. It is thematically linked to the other stories in this tightly focused collection; all are suffused with nostalgia for a lost suburban America that Updike himself helped to define. In "How Was It, Really," stressed-out yuppies unable to cope with parenthood ask their father how he managed it, back in the Fifties. The old man has no recollection, except that the key concept was "benign neglect." In the title story, a banjo player fondly recalls a tour of the Soviet Union during the Cold War, performing for a population unspoiled by television. All of the stories are written in Updike's typically luscious prose, packed with exquisite descriptions and startling perceptions. Recommended for most fiction collections.--Edward B. St. John, Loyola Law Sch. Lib., Los Angeles Copyright 2000 Cahners Business Information.
    Giles
    A touching, elegiac collection of stories about infidelity, about the weight of family, about the dwindling of years, about the heart and other organs.
    Newsweek
    Michiko Kakutani
    The centerpiece of the book — and the one compelling reason to read it — is a novella-length piece called Rabbit Remembered, a sad-funny postscript to Mr. Updike's quartet of Rabbit novels (Rabbit, Run, Rabbit Redux, Rabbit Is Rich and Rabbit at Rest), which takes up the story of Harry (Rabbit) Angstrom's family and friends as they try to come to terms with his death and chart the remainder of their own lives. As in his last Rabbit novel, Mr. Updike writes with fluent access to Harry Angstrom's world, chronicling the developments in his hero's small Pennsylvania hometown with the casual ease of a longtime intimate. With compassion and bemused affection, he traces the many large and small ways in which Harry's actions continue to reverberate through the lives of his widow, Janice, and their son, Nelson, and the equally myriad ways in which their decisions are influenced, consciously or unconsciously, by their memories of him.
    New York Times
    A.O. Scott
    [T]he value of Licks of Love, apart from the pleasure of catching up with Rabbit's friends and relations, is the wry, measured sense of perspective it brings to Updike's earlier work.
    New York Times Book Review
    Kirkus Reviews
    Pronounced echoes of Updike's earlier fiction dominate this mixed-bag collection of 12 short stories and a novella: jazzlike variations (or "licks") on the difficulties and consequences of trying to love others better than we love ourselves. Autumnal reverie and regret, mingled with touches of erotic fantasy are the keynotes of several stories (including "The Women Who Got Away" and "New York Girl") that evoke the milieu of suburban mate-swapping explored in Updike's once-notorious Couples. "My Father On the Verge of Disgrace" recalls the vividly conflicted filial feelings of another fine early novel, The Centaur. The autobiographical Of the Farm comes to mind as one reads "The Cats," about a middle-aged man who buries his elderly mother, but not the complex memories with which she has burdened—and blessed—him. And renegade novelist Henry Bech rears his busy head again, in a new story (the wistful "His Oeuvre"), and also—by imaginative proxy—in the amusing "Licks of Love in the Heart of the Cold War," about a quite Bech-like banjo master's tour of Cold War Soviet Union and his vulnerability to his own haphazard libido. Except for "Licks," the only piece that isn't ruminative and virtually plotless is "Metamorphosis," a perfectly realized portrayal of a cancer patient's eerie transformative obsession with the woman doctor who performs his "facial surgery." But the volume's real raison d'être is "Rabbit Remembered," in which memories of the late ex-basketball star and serial screwup Harry "Rabbit" Angstrom are dredged up when his middle-aged illegitimate daughter meets her "other" family—and Rabbit's hitherto nondescript son Nelson, himselfaging,divorced, and seeking a family he can still belong to, proves to have been all along the one who loved his infuriating father and will honor his memory. Updike has never been better than when writing about the Angstroms and their discontents, in his justly famous "quartet," and in this brilliant and deeply moving coda to it, which can stand by itself as one of his finest novels. First printing of 60,000 Wagman, Diana SPONTANEOUS LA Weekly/St. Martin's (256 pp.) Oct. 6, 2000

    From the Publisher
    A touching, elegiac collection of stories about infidelity, about the weight of family, about the dwindling of years . . . [Updike] works so slowly and carefully that you rarely see the emotional punches coming.”—Newsweek
     
    “With compassion and bemused affection, [Updike] traces the many large and small ways in which Harry’s actions continue to reverberate through the lives of his widow, Janice, and their son, Nelson. . . . [‘Rabbit Remembered’] not only reconnoiters old ground but in doing so also manages to transform it into something stirring and new.”—Michiko Kakutani, The New York Times
     
    “ ‘Rabbit Remembered’ is a thing of rich satisfaction. . . . Throughout the collection are passages of stylistic certainty and bittersweet intimacy.”—The Boston Sunday Globe

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