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Because They Wanted to: Stories, by Mary Gaitskill
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A New York Times Notable Book
A man tells a story to a woman sitting beside him on a plane, little suspecting what it reveals about his capacity for cruelty and contempt. A callow runaway girl is stranded in a strange city with another woman’s fractiously needy children. An uncomprehending father helplessly lashes out at the daughter he both loves and resents. In these raw, startling, and incandescently lovely stories, the author of Veronica yields twelve indelible portraits of people struggling with the disparity between what they want and what they know. Because They Wanted To is further evidence that Gaitskill is one of the fiercest, funniest, and most subversively compassionate writers at work today.
- Sales Rank: #429322 in Books
- Brand: Gaitskill, Mary
- Published on: 1998-02-27
- Released on: 1998-02-27
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .80" w x 5.25" l, .49 pounds
- Binding: Paperback
- 256 pages
Amazon.com Review
Reading a Mary Gaitskill short story is like getting into a no-holds-barred fight: mean, raw, and dangerous. She's fond of portraying characters who seem strangely comfortable living in emotional extremity. She never takes the safe route through a story; in fact, she'll choose the low road every time. The title story places a runaway girl in care of abandoned children. Where many writers would seek out some faint ray of redemption or hope, Gaitskill concentrates on the grime in the cracks of the linoleum. In "The Girl on the Plane," a bitter man confesses his participation in a brutal act to a stranger, but the confession brings no solace. These stories practically shake with tension. In the final long story of this collection, "The Wrong Thing," Gaitskill picks up the tale after the breaking point, as she gracefully illuminates the life of a woman piecing together the fragments of her sexual and emotional history. Because They Wanted not only fulfills the promise of her previous short-story collection Bad Behavior and the novel Two Girls, Fat and Thin, it takes us to a higher place.
From Publishers Weekly
In "The Dentist," a story about a magazine writer's sexual infatuation with her bland, middle-aged dentist, a billboard for Obsession perfume looms over the protagonist's neighborhood, projecting a "strange arrested sensuality of unsatisfied want." Like that billboard, the nine stories in Gaitskill's third book (after the novel, Two Girls, Fat and Thin) hold a mirror up to a 30-something zeitgeist of emotional dysfunction, chronicling people paralyzed by unappeasable desires and trapped by abusive families and relationships. The landscape is a familiar one?of support groups and public health clinics, funky neighborhoods in the Pacific Northwest and lower Manhattan inhabited by writers, musicians and sex workers. With her crisp prose and withering eye for detail, Gaitskill invests these scenes with psychological vividness and desolate poignancy. The title story is a portrait of a resilient 16-year-old who runs away from home in the wake of her parent's divorce and takes a job in Vancouver babysitting for a financially desperate mother of three. The disgruntled protagonist of the opening story, "Tiny, Smiling Daddy," disturbed that his estranged lesbian daughter has published a self-help essay about him in a national magazine, ponders the divide between parents and children. In the four-part final story, "The Wrong Thing," a 39-year-old poetry teacher tries to remain stoic in the face of a series of erotic but loveless flings. It's telling that Gaitskill's title is an unfinished sentence, for the theme that binds these stories together is an emotional modality shared by a cast of unhappy people, whose sordid fantasy lives and small gestures of compassion allow them to keep at bay the meaninglessness and despair of the everyday.
Copyright 1996 Reed Business Information, Inc.
From Library Journal
Many of the stories in Gaitskill's new collection conform to the same structure, shifting between present and memory, depicting the past catching up to her characters. In "The Girl on the Plane," a man meets a woman who resembles a college classmate, and their conversation elicits in his mind the sordid details of his role in a drunken gang-rape. In "Tiny, Smiling Daddy," a young woman writes about her father for Self. While driving to purchase the magazine, the father reflects on her childhood. "Orchid" details the reunion of two college roommates?Margot, a lesbian, and Patrick, a Lothario?and how smoldering memories can blaze when provoked. Gaitskill's characters thrive on the frontiers of sexual identity, where they search for love that can coexist with the traumatic histories that burden them, and the stories they inhabit reflect their complexity?opting for simple survival over reductive resolution. Often, for Gaitskill, the striking of a single sustained note of self-knowledge is enough to keep a chorus of insoluble problems at bay. Recommended.?Adam Mazmanian, "Library Journal"
Copyright 1997 Reed Business Information, Inc.
Most helpful customer reviews
42 of 43 people found the following review helpful.
Incredible collection, but not for everyone
By Steve S.
I've been a short story fan since I was a teen, had a love-hate relationship with the New Yorker ever since. Too many short stories follow that formula--middle class protaganists, emphasis on interior life rather than plot, conflict deriving from relationships, with the epiphany arriving right on schedule in the last 2 pages. Updike and Munro do this really well. Even though Mary Gaitskill's collection follows some of these rules, I found it breathtakingly original and powerful. She pushes the interiority of her characters to an extreme, and I'd have to say the single trait of these stories I admire most is their ability to make you feel what her characters do. Forget plot, for the most part--the value here is in the subtle observations of love and sexuality. These stories have an edge unknown to your average buttoned-down New Yorker writer--only Thom Jones at his best can surpass her there. With Gaitskill, Jones and Junot Diaz, we're finally starting to get some short story writers who don't seem to have spent their lives hiding in the suburbs. Don't read this book in a hurry--savor it.
13 of 13 people found the following review helpful.
A Cerebral Salad of Souls (sorry!)
By momwith2kids
I loved this book! It?s a collection of short stories about men and women of all ages (mostly in their 30s though). Gaitskill has a beautiful style of writing. Her descriptions are wonderfully unique and filled with imagery. All of the relationships she portrays are fascinating because all of her characters are damaged in one way or another.
Some of my favorite stories (almost all of them, really) were Tiny Smiling Daddy, about the father who recalls and regrets his reaction to learning of his daughter's "coming out." Because They Wanted To, was about Elise, a 16 year-old runaway who takes care of a stranger's kids. Orchid, about old friends seeing each other after so many years, thus stirring up memories of a close friendship bordering on love. The Blanket, about a relationship between an older woman and a younger man. Finally there's one of my favorites, Girl on a Plane, where a man looks back on his misdeeds after meeting a woman who mysteriously reminds him of a girl he once knew. Then there's The Dentist, where a girl named Jill endlessly chases this man whom the author gives no name (which clues you into his personality!). In the last four stories, the narration changes to the first person and takes on a much more lively pace. However, that does not take away the depth of the all of the preceding stories.
Gaitskill is flawless at exposing the complexities of the human psyche. Furthermore, she exposes the maddening efforts people make to connect with one another. Illustrating every character as a unique individual, Gaitskill gives each person his or her own set of baggage, idiosyncrasies, and methods of survival. Instead of simple love stories where boy meets girl--boy and girl fall in love--they live happily ever after, here's a a collection of relationships, each with their own harrowing progressions, ups and downs, and a million different paths of resolution, not all necessarily "happy." As an amateur writer, I'm inspired by her work and each story teaches me something new.
9 of 9 people found the following review helpful.
A strange jangling beauty
By Elisabeth Harvor
Some readers may argue that Gaitskill's characters merely resist growing up, and it's certainly true that their lives are much more in an uproar, much more in flux than the lives of their peers who are married with children. And yet to dismiss them as piquant malcontents seems unfair--they are, after all, after a more profound and dangerous intimacy than the intimacy that might be found in more stable relationships. Gaitskill has also managed to achieve, in this third book, a moving away from the voyeuristic; this has made the work inevitably quieter, and has even made some of the characters seem almost "normal".
In Tiny, Smiling Daddy, the opening story in Because They Wanted To, a sexually prodigal daughter discharges "her strange jangling beauty" into her father's house, "changing the molecules of its air". In another story (Processing), a waitress, "vibrant with purpose" pours water for her dinner guests "with a harried rattle of ice". At a party in Palo Alto, light "runs and flirts on silverware". All of these glimpses into Gaitskill's latest stories illustrate how charged her language can be, and how much it is animated (in spite of its dark themes) by both boldness and joie de vivre.
In other Gaitskill stories, many of the characters act as impish raconteurs of narratives that reveal their own pain or shame. Their audience is made up of a sort of floating opera of fast friends, scoffers, and therapists manque. Privacy is sacrificed to get at "the truth" about both intimacy and the potential that life has for the playful (and in particular for the sexually playful) to be extended into adulthood. But sex, in Gaitskill's world, is mischievous, cerebral, brutal, or even described with an almost dainty candour, the one thing it is not is sexy.
There are also exquisite moments of non-sexual tenderness. In one of the final stories, a poet who teaches at Berkeley says of one of her students: "He didn't write very well, but he was a passionate student and so was a favourite of mine. He took me in with a wistful, subtle movement of his eyes. I felt him accept my fondness and shyly give it back. Without knowing it, he comforted me." But then Gaitskill's theme is (and always has been) intimacy: how to find it, create it, retrieve it, bestow it. And also--and this is where the tragedy in much of her work locates itself--how it's only longed for, squandered, or lost.
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