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Complete Stories (Penguin Classics), by Dorothy Parker
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As this complete collection of her short stories demonstrates, Dorothy Parker’s talents extended far beyond brash one-liners and clever rhymes. Her stories not only bring to life the urban milieu that was her bailiwick but lay bare the uncertainties and disappointments of ordinary people living ordinary lives.
- Sales Rank: #106597 in Books
- Brand: Parker, Dorothy/ Breese, Colleen (EDT)/ Barreca, Regina (INT)
- Published on: 2002-12-31
- Released on: 2002-12-31
- Original language: English
- Number of items: 1
- Dimensions: 7.70" h x .80" w x 5.10" l,
- Binding: Paperback
- 480 pages
From Publishers Weekly
Perhaps it was a disservice to collect all of Parker's stories in one place. Despite insistence to the contrary in a reasoned but ultimately unconvincing introduction by Regina Barreca, Parker wrote decently about the same things over and over and over. This volume includes 13 stories and nine sketches which were previously uncollected, but they blend right in with the other material on drinking and divorce among those of a certain class. Parker's stories tend to float in the shallow end of the literary pool. It's not that any individual piece is of poor quality, it's just that, collectively, the the sameness becomes unbearable. Her humor, in particular, strikes the same note every time. A quick run-through of several plots exhibits this perfectly: two women insincerely discuss an impending divorce; a couple gets drunk in preparation for becoming teetotalers the next day. The nine sketches included here are more of the same, minus any actual plot. Descriptions such as "Lloyd wears washable neckties," are amusing, but go no further. It is ironic that feminist critics are attempting to resurrect Parker, since her writing makes her disdain for her own sex perfectly clear: she feels free to disparage these women for whom marriage and dinner parties are everything, but she always goes for the easy laugh at their expense rather than explore the larger context that forced them into such rigid roles.
Copyright 1995 Reed Business Information, Inc.
From Library Journal
Now remembered almost soley as the lone female member of the New York writers' group known as the Algonquin Round Table, Parker was one of the most popular and published writers of the interwar years whose stories and light verse were eagerly sought by the best magazines. Although widely represented in short story anthologies, Parker's entire corpus of stories has never been collected in a single volume: editor Breese includes 13 stories and nine "sketches" not previously anthologized. Read as a collection, however, the famous sardonic wit becomes too intrusive, and similarities of plot and character are annoyingly apparent. Reliance on heavy social drinking as a staple of her plots is less humorous to Nineties readers, and some of Parker's ideas on the relationship between the sexes are equally dated. Still, many of the stories, such as the often reprinted "Big Blonde," are moving, and the whole volume is an unsettling portrait of the era. For all fiction and research collections.?Shelley Cox, Southern Illinois Univ., Carbondale
Copyright 1995 Reed Business Information, Inc.
From Booklist
Parker has been subjected to an inordinate amount of disrespectful criticism. The cult of personality and the elevation of gossip over genuine analysis, combined with the tiresome and offensive habit of sexism, has very nearly obscured the importance of her work. This invaluable collection of nearly 50 of her superb stories, some never before collected, will cut right through that fog because Parker is potent. Her precision is unerring, her humor wicked, her anger searing, and her compassion profound. She has a keen sense of the absurd as well as the unjust, and an incredible eye and ear for detail. Regina Barreca, author of Perfect Husbands (and Other Fairy Tales), provides a rousing and refreshing introduction to Parker's work, pointing out that what was extraordinary about Parker was her art and her wit, not her much maligned personal life, which, frankly, resembled that of many celebrated writers. Donna Seaman
Most helpful customer reviews
50 of 50 people found the following review helpful.
A Lime-Green Look at the Battles of the Sexes
By Infovoyeur
And I thought I knew all of the short story writers who write good social satire, especially about the Battle of the Sexes. Do you like John Updike's dissonant couples the Maples? John Cheever's middle-class suburban sashayings? John O'Hara's accounts of evil-propelled mis-treatments and non-treatments? Ring Lardner's tales of hamfisted bunglings? Katherine Mansfield's dry-point etchings of looming males and tendril-like females?
To these I can now add Dorothy Parker--whom I discovered only last month after enjoying the above social-critics for decades. A sharp-tongued journalist, Parker wrote in New York City in the 1920's through the 1950's. She's a key addition to the "fruit salad" of these writers--call her a lime, perhaps--small, tart, acid but somehow quenching our thirst for the truth however tangy?
Parker precisely pinpoints interpersonal shipwrecks. Marriage is--what happens. Often it's like this:
In "New York to Detroit," on the telephone, a man mechanically shoves a desperate woman out of his life. The bad connection aids his "misunderstandings" of her frantic pleas.
In "Here We Are," a just-married couple travel by train to their New York City honeymoon hotel. But we see already the stress-fractures of immature overreactions, and how out of them starts to ooze the lava of hatred which will surely melt down (or burn out) the marriage soon.
In "Too Bad," women are perplexed, even astonished, that the Weldons separated. Such an ideal couple! Except Parker eavesdrops us into the couple's typical evening at home. Its genteel vacancy, polite non-communication, and quiet distancing tell the tale.
Is Parker too crude a caricaturist? Heavy on the satire, too bitter personally? True, her women seem simplified: helplessly-hysterical, nice-nice faceless patseys or creampuffs, captives of bland routines--and of men. Her men similarly seem generic males-of-the-species, "blunt bluff hearty and...meaningless," conventionally-whiskered and all, chauvinistically-insensitive if not cruel. Okay... But if it's overdone, why do I feel I have known and seen these people, or traces of them, often, and not in New York of the 1920's-1950's either?
22 of 23 people found the following review helpful.
Smarter than you, not that you'd know it
By Rob Lightner
Mrs. Parker possessed a venom that incapacitated its victims with sheer brainy pleasure. Her stories are tight, sparse, and crunchy with wit--Oscar Wilde looks like Krusty the Klown in comparison. While some would complain that she rarely strays from critiquing the hypocrisies of the wealthy and powerful, it's hard to argue that there isn't enough material therein to fuel a thousand careers. Her work is essential reading for those of us who aren't perfectly at ease with the ways of the world but find ourselves coping with it anyway.
The Elaine Stritch readings of seven of these stories are also tremendously entertaining and worthy of separate purchase. The delight of sitting in a darkened room, listening to a master actress reading Mrs. Parker, sipping from a tumbler of whiskey, must be experienced to be believed.
10 of 10 people found the following review helpful.
Best Short Story Writer
By Peter Cocchia
Publishers Weekly: I will likely never read your magazine after reading your review of Dorothy Parker's Complete Stories. I had never really intended to--but now, after that awful, sophistic review of one of the best American short story writers of the 20th Century, I can be certain that the words you print hold absolutely no weight. How truly embarrassing for your publication.
Dorothy Parker: a phenomenally talented short story and verse writer, and one of the most powerful feminists of her time. She fought racism and sexism--unlike some of her contemporaries like Hemingway and Fitzgerald, who abetted it--and was one of few during the 20's and 30's to write about such taboo topics as abortion ("Mr. Durant"). In 1929, she won the first place O. Henry Award for her short story "Big Blonde," and her story, "Here We Are," has been duly collected in The Best American Short Stories of the Century, edited by John Updike. Also notable: her poetry collections Enough Rope and Sunset Gun were both bestsellers, an unprecedented accomplishment for poetry in general.
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