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    Thank You for the Music: Stories

    Thank You for the Music: Stories

    by Jane McCafferty


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      ISBN-13: 9780062325501
    • Publisher: HarperCollins Publishers
    • Publication date: 10/08/2013
    • Sold by: HARPERCOLLINS
    • Format: eBook
    • Pages: 224
    • File size: 297 KB

    Jane McCafferty is the author of the novel One Heart and two collections of stories, Thank You for the Music and Director of the World and Other Stories, which won the Drue Heinz Literature Prize. She is the recipient of an NEA award, the Great Lakes Colleges Association’s New Writers Award, and two Pushcart Prizes. She lives and works in Pittsburgh, Pennsylvania.

    Read an Excerpt

    Thank You for the Music
    Stories

    Chapter One

    Family On Ice

    Not that you asked, but I'm an X-ray tech going to night school for anthropology.

    I have a daughter, who is seven, and spends a lot of time with her father in the suburbs.

    I have the kind of loneliness that makes me sit too close, on purpose, to strange men on buses. Men who smell good, who read books, whose shoes are not too shiny, not too scuffed.

    I have not learned to appreciate solitude.

    And yes, I know this attitude has long been out of vogue. All the magazines have headlines that shout SINGLE? CELEBRATE! Everyone seems to talk about being a woman warrior who works out six times a week. It makes me want to take up smoking again, and sit in a bar all afternoon the way I did in my twenties.

    In my present social life that matters, I'm the third wheel. The other two wheels are Henry and Lydia, and wouldn't you know it, Henry loves Lydia and Lydia loves life, art, sports, and perhaps, though we're not sure yet, Henry. He's enjoying the toying, delicious, piercing pleasure-pain of not knowing. She calls him Henri, like she's French, not in a pretentious way, but in a way that makes you recognize her humor, her great accent, and her big vision of the world, like Paris is always in the air even though it's Pittsburgh. She wears a black beret at an angle you might have to call jaunty. She would never eat cheese doodles for dinner with a loud TV like some people I know; she'd prepare thick split pea soup, eat quietly with classical music on the radio, stare into her small backyard, where she once kept a warren of little white rabbits who slept on her couch when it was cold. She is the sort of woman who always thinks before speaking, and who never says "um" or "ya know." She wears bright silk scarves tied around her head, and is constantly clearing her eyes with drops of Visine, her only addiction. If her eyes get any clearer, any bluer, any more beautiful with wide-eyed -- what is it? wonder? -- they'll crack like windows in a hurricane.

    And now she's invited the two of us to go ice skating with her entire family. Did I mention that I love Henry? Henry the divorced insomniac, the owner of a used bookstore? Did I mention that the very idea of a family that goes ice skating together is beyond my ken? And that's the first time in my life I've used the word "ken," so sorry for being fancy, as my grandmother used to say.

    She also used to holler, "It's always funny, 'til somebody loses an eye!"

    She's dead now, like so many others in my family, but even if they were alive they wouldn't be caught dead on skates. Most of them managed to fall on their asses wearing shoes. Many of them would've considered me heroic for holding down a job, and raising a kid. "How do you do it?" they'd ask, if they weren't dead.

    I have to envy Lydia, whose mother used to play the clarinet each morning to rouse her children from slumber, whose handsome father, a minor-league baseball player, decided he wanted to learn to quilt, so took a quilting class in Bloomfield with several old Italian women, and made something beautiful to hang on the wall. I have to envy Lydia with a passion I believe warps my soul. Nobody drank to excess in her family, much less did heroin, nobody ever threw slabs of Christmas roast beef at the ceiling or drove a car through a living room wall, or disappeared for seven years, or became a transvestite (nothing against transvestites), and you can see this by looking at them -- physical beauty, yes, but somehow quaint and New Englandy, like people in old photographs: Observing their profiles you feel the romance and heirloomy fullness of their story, the certainty that generations from now, their children's children will say, "And that's why I play the clarinet -- it's a tradition, you see --"

    Tradition! It's very true some people still have them, and not just farmers. I keep thinking I need to invent some traditions for my daughter.

    Her name is Rhonda and she's never seen her aunts. One of them has been telling me for eight years she'd love to see me if it weren't for "the troubles." Like she's in Ireland! My other sister and I are simply not speaking for reasons I couldn't bear to bare right now. Rhonda did see my parents before they died, but what can a kid say to a three-hundred-pound woman who smokes her way through lung cancer? What can a kid say to a dry drunk so mortified by emotion he kept his heart in a glass cage up in the attic? Or somewhere. I was grateful to them for dying. They'd died a long time before their real deaths anyhow. And I didn't want my kid looking at them too closely here in the age of genes-are-us. Instead I make up lies about them. "Your grandmother was an excellent seamstress, and quite the muckraker. Sympathy for the Underdog was her middle name." "Your grandfather was valedictorian and a friend to all animals." I buy old photos in antique stores and educate her about her ancestors. I pick the most interestingly dignified photos I can find, and all she can say is, "Why didn't they smile back in the olden days?"

    Anyhow, she's lately spending most of her time with her father and his girlfriend, Sandy Meg. Since Sandy Meg is loaded with stockbroker money, when my daughter comes home she's always got several new Barbies -- the kind in lavish ball gowns I could never buy her. I benefit from this, since it's clear Rhonda feels a little guilty about preferring Sandy Meg's bubbly wealth and wry electric company to my own. This guilt makes her more affectionate and charming to be with. She pretends to be interested in the gorilla book I bought her last year. She cleans her room without my having to ask. In her seven-year-old eyes I see pity when I try to tell her I think there might be more to life than Barbies. Poor Mom, the brown eyes say, don't you get it? And then a kin of resignation sets in: Oh well, so I have a mother who doesn't understand how sparkly life can be.

    Even at age seven she knows there are worse things.

    Thank You for the Music
    Stories
    . Copyright © by Jane McCafferty. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

    Reading Group Guide

    Introduction

    In 14 original stories, award-winning author Jane McCafferty illuminates life, weaving her love of music throughout the lives and stories of her characters. From two middle-aged strangers who meet in an empty baseball stadium during a rainstorm to a 25-year-old man who brings his 60-year-old wife home to meet his parents to a young couple who live next door to an unemployed clown and his wife, these stories are at once unexpected and enthralling. Whether the music is loud or soft, a song on the radio or clarinet lessons, music infiltrates these perfectly orchestrated tales.

    Discussion Questions

    1. "Family on Ice" -- "I have the kind of loneliness that makes me sit too close, on purpose, to strange men on buses," says the narrator at the start of the story. At her friend's Christmas party where her loneliness intensifies, she connects with the "family bum," sharing a strange, profound night of silence with him. How does she change by the end of the story? What does she learn from the family bum?

    2. "The Pastor's Brother" -- Tim, the pastor's brother, after a lifetime of squelched jealousy and emotion, finally breaks down. What causes Tim to break? Is it a good thing? If Tim had not broken down, would he have become more like his messed-up daughter or would he have been able to go back to his repressed but safe life in upstate New York?

    3. "Guiding Light" -- Grace loves her neighbor Anne for her refinement and neatness, qualities her mother lacks. When she finds out that Anne is a lesbian, Grace drops Anne. Why? Describe Grace's relationship with her mother and how it changes. Is this typical?

    4. "Berna's Place" --How does Berna and Griffin's relationship help Patricia and Jules reach an understanding and acceptance of their imperfect life. What do you imagine their life would have been like if Berna had not come along?

    5. "Light of Lucy" -- Does Lucy leave the man hopeful -- "Oh, I always leave 'em laughing?" Is Lucy real? Does it matter?

    6. "Brother to Brother" -- Why does the man call his brother who lives in another town when he finds the rat? In the same moment the man recalls the brother fighting to defend him, he also remembers his brother's philosophy of life -- Neil Young's "Everybody Knows This Is Nowhere." He says, "The essence of this day runs in my veins." What does he mean by this? Is the rat genuine or is the man hallucinating?

    7. "You Could Never Love the Clown I Love" -- Is the clown's wife right when she says, "You don't got the heart [to love the clown I love]?" Why do they invite the clown and his wife in? Are you surprised when the clown has the audacity to complain about the young lovers' conversation when he is constantly dropping pins above their heads?

    8. "The Dog Who Saved Her" -- Discuss Julie the child's understanding of her mother -- the mother who kicked a cat but who also took her pet mouse to the vet. What are her feelings about her mother when she comes to Europe? What was she hoping for? Why does she defend her mother and in the next moment hate her?

    9. "Dear Mister Springsteen" -- Do you share the feelings the narrator has about the album, "The Rising?" What does the narrator's middle-of-the-night visitor Desmond teach her -- "He was profound enough, just being a kid alive in the world?" Discuss the narrator's statement, "I remember my black friends after 9-11 said it was sort of a relief not to be seen as the enemy for awhile, that for a while it was the Muslims who people had their eyes on."

    10. "So Long, Marianne" -- Why does Marianne resist telling Ben her stories? What kind of listener leaves you feeling empty? Could Marianne have had control over that? When Marianne tells Ben her stories, will it be different from the other two men? Why?

    11. "Elizabeth Tines" -- Why does having knowledge of the life she never led make Elizabeth happy? Why doesn't she complete the story she tells Bennet about Joe Beehan and her parents' discovery of her diary? Why does she decide to go to Bennet's family's house for Christmas? How are Elizabeth and Bennet connected in the end?

    12. "Stadium Hearts" -- How does the man change after he anonymously disrobes with the woman in the baseball stadium?

    13. "Embraced" -- What kind of mother and grandmother are Belle and Roseen to Aileen? Will Aileen become like Belle and Roseen? The faces of the women in her brother Blaise's pornography stay with Aileen a long time -- why? Why is Aileen irritated at her friend Marie at the magic show?

    14. "Thank You for the Music" -- Have you experienced music in the way Francine does? How does this story make you feel about Francine? Leonarda?

    15. All the stories reference music in one way or another. Think about Grace and her piano lessons in "Guiding Light." The old man singing "All the lilies" in "Berna's Place." The letter to Bruce Springsteen about his album, "The Rising." How does music tie the stories together? What other themes bind these stories together?

    About the Author Jane McCafferty is the author of One Heart, for which she was awarded a National Endowment for the Arts Fellowship. Her stories have appeared in Glimmer Train, Story, Witness, six volumes of Best American Short Stories, and other publications. Her short story collection, Director of the World, was awarded the Drue Heinz Literature Prize. She has also won the Pushcart Prize for fiction. She teaches at Carnegie Mellon University and lives in Pittsburgh, Pennsylvania.

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    In 14 original stories, Jane McCafferty illuminates modern life weaving her love of music throughout the lives and stories of her characters. From two middle-aged strangers who meet in an empty baseball stadium during a rainstorm, to a 23-year-old man who brings his 62-year-old wife home to meet his parents, to a young couple who live next door to an unemployed clown and his wife, these stories are at one unexpected and enthralling.

    This collection of short stories, linked by the theme of music, is a gorgeous follow-up to One Heart, award-winning writer Jane McCafferty’s critically acclaimed debut novel.

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    Publishers Weekly
    Like a favorite old mix tape, McCafferty's collection of 14 stories tugs at the heartstrings and illuminates life's pivotal moments. In "Family on Ice," a spunky X-ray technician longs for a divorced man who's smitten with their mutual friend; at a Christmas party, she-a self-proclaimed "third wheel"-finds quiet companionship with a self-proclaimed "family bum." In "Guiding Light," a young girl convinces her seemingly closed-minded mother (whose musical taste stops at Burt Bacharach) to let her take piano lessons with their new neighbor, "a mixture of a nun and an artsy-fartsy." Twenty-five-year-old Griffin shocks his parents by bringing home a 60-year-old veterinarian bride in "Berna's Place"; as his parents slowly warm up to Berna, they also begin to reassess their own marriage. Under the influence of loneliness (and some newly prescribed Paxil), the father in "Light of Lucy" contemplates shouting to a parking lot full of parents waiting for their children, "Do you not grasp that life could be more like the movies if only you got out of your stupid car and opened your heart?" Before long, he finds himself sharing the front seat with a vibrant woman who bears a striking resemblance to the late, great Lucille Ball. Though some character types seem a bit overplayed, McCafferty (One Heart) offers tales as down-to-earth as the Bruce Springsteen tunes that unite a lonely woman with a young boy from the other side of the tracks in "Dear Mr. Springsteen," and as irresistible as any pop song. Agent, Nicole Aragi. Author appearances in Pittsburgh, Pa.; Iowa City, Iowa; and Cleveland, Ohio. (Jan. 13) Copyright 2003 Reed Business Information.
    Kirkus Reviews
    Fourteen stories set in Pittsburgh describe the quiet griefs of everyday life: a second collection from McCafferty (Director of the World, 1992; One Heart, 1999). McCafferty's prose is better as portraiture than storytelling, and most of these tales are as much vignette as narrative. The beaten-down father of "Light of Lucy," for example, has a brief flight of fancy (involving Lucille Ball) while waiting in a parking lot for his daughter, but his story is little more than a sketch of a desperate man (divorced, depressed, unemployed) short on answers. Similarly, the narrator of "Brother to Brother" offers an interior monologue on the difficulty of life, addressed to a beloved elder brother who may, in fact, be already dead. The unhappy young couple who bicker pointlessly in "You Could Never Love the Clown I Love" are brought up short by an encounter with the older couple next door, a circus clown and his wife, who complain about the noise of their endless arguing, while the young couple of "So Long Marianne" seem perfectly happy and in love until the girl sees a child in her store and is thereby (possibly) reminded of some misfortune in her past. "Stadium Hearts" depicts the loneliness of an elderly philosophy professor who breaks into a baseball stadium to recall his dead wife and son and the ballgames he refused to take them to, there encountering the widow of a ballplayer who has also broken in to recall the past. "Dear Mr. Springsteen" is a fan letter to the Boss from a middle-aged Pittsburgh lady who tries to explain what an effect Springsteen's Rising album had on her and an inner-city boy she played it to, while the title story is a thank-you note from a troubled woman with anunhappy past to an old friend who helped her through a bad patch many years ago. Sharply observed but limited in scope: more by the way of background, or some other dramatic depth, could make such dim and shadowy characters worth caring for.

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