The State We're In

Maine Stories

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About The Book

A magnificent new collection of linked stories from a multiple prize-winning master of the short form. The State We’re In, Ann Beattie’s first collection of new stories in a decade, is about how we live in the places we have chosen—or have been chosen by. It is about the stories we tell our families, our friends, and ourselves; the truths we may or may not see; how our affinities unite or repel us; and where we look for love.

Told through the voices of vivid and engaging women of all ages, The State We’re In explores their doubts and desires and reveals the unexpected moments and glancing epiphanies of daily life. Some of Beattie’s idiosyncratic and compelling characters have arrived in the coastal state by accident, while others are trying to escape. The collection is woven around Jocelyn, a wry, disaffected teenager living with her aunt and uncle for the summer, forging new friendships, avoiding her mother’s calls, taking writing classes, and encountering mortality for the first time. As in life, the narratives of other characters interrupt Jocelyn’s, sometimes challenging and sometimes embellishing her view.

Riveting, witty, sly, and bold, these stories describe a state of mind, a manner of being. A Beattie story, says Margaret Atwood, is “like a fresh bulletin from the front: we snatch it up, eager to know what’s happening out there on the edge of that shifting and dubious no-man’s-land known as interpersonal relations.” Beattie’s sentences, her insights, and her inimitable voice are mesmerizing.

Excerpt

An excerpt from The State We’re In by Ann Beattie
“The Fledgling”
 
You weren’t supposed to touch birds, because they wouldn’t be allowed back in the nest, right? If you got your human smell on them. Or was that an old wives’ tale? Were there still old wives who told tales, or did everyone know everything now, including how to remove red wine stains, how to make your tablecloth soft, how to keep salt from getting moist in the container? Oh, it was a world of rice now, very little ingested because quinoa was so popular, that and tabouli and spelt, though rice grains were still put in saltshakers. Rice was still thrown at weddings. Certain weddings.
Poor little dirty sad frightened bird! Poor distraught elders! They all feared the worst scenario: death by drowning; death by starvation; an ugly end with no one but them as witnesses, and they could do nothing except send up a storm of sound and hope either the gods, or the humans who acted like gods, would do the right thing, that one of them would be the savior. She was obviously that, staring nervously for only a few seconds before dropping everything, checking her impulse to plunge in her hand, running inside for the oven mitts, guaranteed to be safe for food cooked up to 450 degrees.
Into the house she ran, out of the house she ran, hands in mitts. But she didn’t want to crush it. It was so small. So sodden. The skin of its tiny head looked like the crows’-feet fanning out from the corners of her eyes.
The birds were making a terrible sound, two on the ground as if facing off with her, yet much too far away. Two others sitting high up in the tree were making the loudest noise. She was capable of reaching in, even though the mitts made the use of her hands awkward, to say the least, and lifting out the little thing and putting it on the walkway, where she hoped all traces of Roundup were gone from the spraying done by the lawn service, to keep weeds from sprouting in the sand between bricks . . . maybe put it on the grass. Though it looked like it would need all the traction it could get. What was the scenario? She could retreat to the house or go to the car and turn on the AC and watch in her rearview mirror to see Mother Bird swoop down and—however she did it—enfold Baby Bird somehow, and lift it again to the nest, which she imagined she saw—either that or some dead leaves—mid-tree. Well, it was nature. It would work out. Of course it would. She kept focusing on the near future because the little bird was cupped in her oven mitts now. When suddenly she remembered something she had forgotten for . . . well, for most of her life. It was a poem that began “Good-bye, little fledgling, fly away.” Her grandmother, who’d been such a good baker, had placed in the center of her famous apple pies made with three kinds of apples a little black bird with an open beak, a pie bird, to release steam. A simplified version of a bird, a little objet, the clever baker’s secret to a perfect pie.
It was standing there. It was either shivering or trying to move its wet wings. It could have died in the recycling. What if she’d hurried on, thought the happy birds were just voicing their happy songs? Both birds had now flown from the lawn back into the tree. One kept flying up and landing exactly where it had started from. Surely it had a plan? The little bird was slightly lopsided. It made a motion resembling a hop. It opened its beak and made a slightly louder sound than it had made in the blue plastic recycling container, which seemed to alarm it and make it tilt farther sideways. She was overstaying her welcome. Car plan: she scooped up her purse and bag, still wearing the cumbersome silver oven mitts. That was the way she looked as she emerged from under the bower of wisteria, making it a point not to torture herself by looking back, and greeted the man in the open-doored mail truck, only slightly surprised to have come upon her looking the way she did: rather frantic, breathing heavily, her hands like lobster claws immobilized by thick rubber bands.
Regardless of her grandmother’s lessons and always gently delivered advice, she’d never made a pie in her life.
 

About The Author

Photograph by Sigrid Estrada

Ann Beattie has been included in four O. Henry Award Collections, in John Updike’s The Best American Short Stories of the Century, and in Jennifer Egan’s The Best American Short Stories 2014. In 2000, she received the PEN/Malamud Award for achievement in the short story. In 2005, she received the Rea Award for the Short Story. She was the Edgar Allan Poe Professor of Literature and Creative Writing at the University of Virginia. She is a member of The American Academy of Arts and Letters and of the American Academy of Arts and Sciences. She and her husband, Lincoln Perry, live in Maine and Key West, Florida.

Product Details

  • Publisher: Scribner (August 2015)
  • Length: 224 pages
  • ISBN13: 9781501107818

Raves and Reviews

“The collection demonstrates Beattie’s craftsmanship, precise language, and her knack for revealing psychological truths.”

– Publishers Weekly, STARRED review

Beattie is a master at depicting the peculiarly painful valor necessary for contending with troubled family members,spouses, lovers, neighbors, even pets. She is also that rarest of beings, a brilliantly comic literary writer… Most often, it’s her skirmishing dialogue that makes us laugh out loud… [a] stellar collection by Beattie, a writer revered and honored for her keen insights and wit.”

– Donna Seaman, Booklist, STARRED review

"Short-story queen Beattie is back with her first new collection in 10 years... These tales explore the range of emotional states the author is famous for: longing, disaffection, ambivalence, love, regret. It's nice to hear her voice again."

– People Magazine

"Beattie’s signature gifts – her finely tuned language, droll wit, unerring feel for popular culture– are on rich display here…vivid…More than a paean to the Pine Tree State, The State We’re In underscores the indelible contribution Beattie has made to American short fiction.”

– Hamilton Cain, O, The Oprah Magazine

“Ann Beattie’s gorgeous The State We’re In makes a strong case for the significance of place."

– W magazine

A real keeper…[these stories] give voice to teens in turmoil, bad parents, tête-à-têtes of all sorts, and so much more.”

– Steph Optiz, Marie Claire

“Interconnected stories from a master of the form.”

– Elle

“One of America’s finest authors—and arguably best living short-story writer.”

– Heidi Julavits, Interview

“Set in New England, New York, and California, Ann Beattie’s winning new collection shines with local detail.”

– Megan O'Grady, Vogue

“The veteran short story master explores the peculiarities of summer life…What unifies these stories outside of their setting is Beattie’s nuanced understanding of relationships…An engaging collection of varied characters.”

– Kirkus Reviews

"Sparkling.... [her stories] finish with a quiet flourish, throwing a sudden subtle twist at us... In the end, these carefully drawn, minutely illustrated portraits of women-- and men-- depict slices of life in all its complexity."

– Tom Lavoie, Shelf Awareness

"Splendid... memorable... Beattie’s sociological wit and probity are truly unsurpassed in our literature... though I didn’t think this was possible, I experienced an even more heightened awe of Beattie’s skills... The dexterity of tone, fearless honesty, and close mapping of lives that may lead to ghastly revelations or even redemption are sheer gifts of reading... this collection has many, many moments of utter surprise. In fact, every page is fitted out with the blessed finery of hypnotic storytelling."

– Howard Norman, Washington Post

"Moving fluidly between adolescents and septuagenarians, it leaves us with the sense that uncertainty, disconnection, is not a matter of chronology but rather of being alive."

– David Ulin, Los Angeles Times

“A peerless, contemplative page-turner.”

– Nicole Jones, Vanity Fair

"Edgy, funny and dark... Beattie’s unerring dialogue exposes each story’s truths... effortless grace."

– Carol Memmott, Minneapolis Star-Tribune

“Slyly funny, still exhibiting the author’s nonlinear narrative style and unique gift of reflecting our inner angst with our surroundings... With a few deft strokes and not a little humor, Beattie paints the nuances... A sense of discomfort pervades The State We’re In, but thanks to the Beattie’s trademark sleek prose and perfectly calibrated authorial distance, it makes for weirdly entertaining reading."

– Ellen Kanner, Miami Herald

"What has always set Beattie’s stories apart is their open-ended capaciousness, so unlike the deterministic, epiphany-shaped prose that has defined the short form... THE STATE WE'RE IN is a revelation, and is shaded by the perspective of an author who now understands both sides of a generational divide... In a Beattie story, perspective is preeminent, and it’s never one you expect. The unwieldiness of human nature, the strangeness of time and circumstance, inevitably shine through."

– Megan O'Grady, Vogue

“Call her the American Alice Munro, call her a New Yorker darling,call this the perfect summer read.”

– The Millions

“A delicious new collectionFunny and consistently surprising,the stories of The State We’re In have the precision and softness of watercolor sketches... masterfully executed, each contributing to a portrait of a place... Imbued with clear-eyed compassion…These stories are also rife with the secret rituals and intimacies of marriage, with all its warfare and devotion.”

– Laura Collins Hughes, The Boston Globe

“The incomparable Ann Beattie’s cunning new story collection... remarkable (and witty)... finding meaning in the mundane and using the small to define the large... Beattie’s Maine can be another’s New York, Tennessee or Montana-- so distinct and so quotidian are her characters."

– Karen Brady, The Buffalo News

“Cause for readers to celebrate… edgy, unfiltered.”

– Joan Silverman, Portland Press Herald

"Beattie’s stories are about life at its most basic and genuine. But her special gift of language and insight raise them above the ordinary.”

– Dale Singer, The St. Louis Post-Dispatch

No one writes a short story quite like Beattie does…what unifies these gems is the author's droll, off-kilter perspective on the human race.”

– Tom Beer, Newsday

As always, she illuminates the outskirts of interpersonal apocalypse, a ‘state’ more material than geographical, riddled with cultural paraphernalia."

– Carolyn Cooke, The San Francisco Chronicle

Marvelous… all part of a masterful narrative structure in which seeds planted early bloom powerfully near the end, never quite as we expect. It happens in every story, and the effect is even more pleasurable across the span of this linked collection… a book packed with emotional errors and lines that will take your breath away.”

– Katherine Hill, The Philadelphia Inquirer

“Some things never change, but that can be a good thing — as in the subtlety and wit of Ann Beattie’s fiction… Beattie’s sharp, funny dialogue is evident throughoutThe State We’re In is a strong collection, offering Beattie’s sly insights into marriage, family,home, friendship, and much more.”

– Carmela Ciuraru, USA Today

“The epiphany-resistant nature of Beattie's stories demands much of her readers, and ultimately is a gift. For without easy closure or false resolutions, we leave these pages with her characters still acting in an unpredictable world that looks very much like our own.”

– Natalie Serber, Portland Oregonian

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