Cover image for The Best American short stories. 2000 [selected stories]
The Best American short stories. 2000 [selected stories]
Doctorow, E. L., 1931-2015.
Publication Information:
[United States] : Houghton Mifflin, [2000]

Physical Description:
5 audio discs : digital ; 4 3/4 in.
General Note:
Stories read by the authors and other guest artists.

Compact disc.

Disc 1. Introduction / E.L. Doctorow -- Call if you need me / by Raymond Carver, read by Peter Kovner -- Bones of the inner ear / by Kiana Davenport, read by the author -- Disc 2. Good for the soul / by Tim Gautreaux, read by the author -- He's at the office / by Alan Gurganus, read by the author -- Disc 3. He's at the office (cont.) -- The third and final continent / by Jhumpa Lahiri, read by Alvin Epstein -- Disc 4. Brownies / by ZZ Packer, read by the author -- Disc 5. Pet fly / by Walter Mosley, read by Charles Parnell -- People in hell just want a drink of water / by Annie Proulx, read by Elizabeth Bulkey.
Format :
Audiobook on CD


Call Number
Material Type
Home Location
Item Holds
PS648.S5 B422 2000C DISC 5 Adult Audiobook on CD Audiobooks
PS648.S5 B422 2000C Adult Audiobook on CD Audiobooks

On Order



Still the only anthology shaped each year by a different guest editor -- always a preeminent master of the form -- THE BEST AMERICAN SHORT STORIES is the essential yearbook of the American literary scene. Here are the most talked about short stories of the year alongside undiscovered gems. In his introduction, guest editor E. L. Doctorow writes, "Here is the felt life conferred by the gifted storyteller . . . who always raises two voices into the lonely universe, the character's and the writer's own." Doctorow has chosen a compelling variety of voices to usher in the new millennium, attesting to the astonishing range of human experience our best writers evoke.

Reviews 2

Booklist Review

See review on p.511.

Publisher's Weekly Review

In an anthology that once again lives up to its title, guest editor Doctorow presents an eclectic mix of 21 stunning stories by writers of varied ethnic and cultural backgrounds. Each short fiction conjures up its own atmospheric world; most provide memorable glimpses deep into the souls of its characters. Five of the selections hail from the New Yorker, three from Story, two each from Harper's magazine, the Atlantic Monthly and Ploughshares. In his introduction, Doctorow quotes Frank O'Connor: "What makes the short story a distinct literary form is `its intense awareness of human loneliness,'" a quality that applies to many of these tales. The protagonist of Amy Bloom's "The Story," bitter at having lost a baby and a husband while her new neighbor has an adorable daughter and a lover, callously destroys the "guilty" woman's life. Veteran mystery writer Walter Mosley tells in "The Fly" of a young black man unjustly accused of sexual harassment after only a few days on the job at a Wall Street firm. "Call If You Need Me," a newly unearthed story by the late Raymond Carver, is a terse, understated tale of the dissolution of a marriage. The piŠce de r‚sistance is by Wyoming-based writer Annie Proulx, "People in Hell Just Want a Drink of Water," the tale of a brain-damaged young man who suffers rough frontier justice. Seen by neighbors as an example of bad genetics, he is "culled from the herd," so to speak. Other outstanding contributions are "Black Elvis" by Geoffrey Becker, "Third and Final Continent" by Jhumpa Lahiri and Allan Gurganus's "He's at the Office." The standards are high, and all of the stories meet them, in a sterling collection. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved



Introduction Here in the year 2000 we lack a proprietary critic of the short story as, for example, Professor Helen Vendler is a proprietary critic of the lyric poem. Given the great story writers Chekhov, or Joyce, or Hemingway we might wonder about this, except that Hemingway turned to novels after In Our Time just as Joyce didafter Dubliners. Chekhov in his maturity turned to drama. While there are exceptions Isaac Babel or Grace Paley, for example, writers-for-life of brilliant, tightly sprung prose designedly inhospitable to the long forms we may say that short stories are what young writers produce on their way to their first novels, or what older writers produce in between novels. The critic of fiction will hold title to all its estates, and the novel is a major act of the culture. Apart from that, it may be that the short story, as it has shifted historically from the episodic tale to the compressive illumination, can't sustain that much formal analysis. Some years ago, the late Frank O'Connor published a study of the genre entitled The Lonely Voice. O'Connor, himself a masterful writer of short stories, wanted to find some means of distinguishing the form from the novella and the novel. His title suggests the nature of his conclusion: it is not any particular technique of the short story that sets it apart, because as a selective rather than an inclusive art, it can construct itself in an endless number of ways. Nor is its length definitive, for, as he points out, not a few of the great examples of the genre are quite long. What makes the short story a distinct literary form, says O'Connor, is "its intense awareness of human loneliness." Sprung from Gogol's seminal story "The Overcoat," in which an impoverished clerk in winter manages to buy a warm overcoat only to have it stolen, a disaster that drives him to his death, the modern short story is a genre that deals with members of "submerged population groups," excluded by one means or another from living in the certainties of civilization people of a minority, outsiders, marginalists, for whom society provides no place or means of self-respect. By contrast, according to O'Connor, the fiction of the novel assumes that man is "an animal who lives in community, as in Jane Austen and Trollope it obviously does." But one can think immediately of stories rising from nonsubmerged populations, stories of people centrally located in community as they are in many of Katherine Mansfield's or Henry James's stories who are not of the alienated and marginalized, though they may come to be from their own actions. Perhaps anticipating this problem, O'Connor modifies his thesis to include in his submerged population groups people who are notmaterially but spiritually isolated artists, dreamers, idealists, antiheroes, visionaries, and so forth. But then who does not belong to a submerged population group? The lonely voice is a universal chorus, and we are left with the not terribly useful truism that the story as a form deals with the human condition. Besides which, one is immediately able to cite novels not at all as societally rooted as Austen's or Trollope's: Sartre's Nausea, for example, or Richard Wright's Native Son, or Samuel Beckett's Molloy trilogy, among others. These works bring their awareness of loneliness to a pitch that the word "intense" hardly begins to describe. So finally O'Connor's attempt to differentiate the short story as a genre by virtue of its sociology doesn't hold up under examination. On the other hand, if we deny it as a thesis, we can still accept it as an insight. We can acknowledge the tendency of the short story to isolate the individual paradoxically, perhaps, from the technical factors Frank O'Connor has dismissed. The story as a particular kind of fiction may not be definable by its construction or its length, but what is critical is its scale. Smaller in its overall dimensions than the novel, it is a fiction in which society is surmised as the darkness around the narrative circle of light. In other words, the scale of the short story predisposes it to the isolation of the self. And the author's awareness of loneliness is the literary dignity he grants his characters in spite of their circumstances the same dignity or moral consequence that, according to the critic Walter Benjamin, is granted even to the humblest person on the occasion of his death. We can say, then, that the subjugated population of a short story is likely to be, before anything else, a population of one. And whoever in a short story is deprived of the certainties of civilization may attribute it, among other things, to the author's >concise attentions. It was the Freudian disciple Wilhelm Reich who realized that extensive dream analysis was not necessary to uncover a patient's psyche: annnnnywhere you looked in actions taken, habits of thought, tone of voice, body language you would find the typified self. That about describes the working principle of the short story as practiced by James Joyce and Ernest Hemingway. Joyce, who brought the modern short story to perfection, showed us that its point of entry can be quite close in time to its denouement in other words, that the story may look in on someone's life as it just happens to reach its moment of inexorable moral definition. Hemingway added to that the technique of composing a story whose suspense derives from the withheld mention of its central problem. I have read perhaps 140 stories to make this selection of 21 for the year 2000. Here is the news: the writers of today are drifting away from the classic model of the modern short story. They seem more disposed to the episodic than the epiphanic, and so their stories sometimes point to the earlier model of the tale. Stories in this mode tend to be longer, their points of entry can be quite distant from their denouements, and their central problem is made quite explicit. But if the twenty-one outstanding stories in this volume are an indication, the art of the story hardly seems to have suffered. Oddly, the reader discerns a nice sense of freedom in what has to be thought of as a conservative tendency, one that glances back to the nineteenth century. It's as if some literary shackle has been broken one made of gold, admittedly, but a shackle nevertheless. And there is more news: although my coeditor, Katrina Kenison, and I have functioned as plain and modest readers, going from story to story to find the pleasure or excitement or truth in them, and although we have chosen them one at a time with no thought for their effect overall or their relationship to one another, they turn out as a collection to reflect the evolving demographics of ourliterary republic. Their protagonists are Latino, African American, Chinese, Israeli, Indian, Bosnian, Bengali, Hawaiian, and Trinidadian in greater numbers than they are native white middle-class. This brings us back again to Frank O'Connor's untenable theory but useful insight. I don't mean to suggest that the tones or moods or states of mind of the stories are uniform. Humor, wonder, serenity, horror, sadness, stoicism, and love come off these pages. Geniuses are portrayed, as are the brutally retarded and the Alzheimer-ridden. Parables are given, and stories echo the realism of the front page. I think it is possible to see in this collection the universality of theliterary conscience. You may find proof too of the vibrant, revivified energies given to this country by its immigrant infusions. But above all, here is the felt life conferred by the gifted storyteller ... who always raises two voices into the lonely universe, the character's and the writer's own. E.L. Doctorow Copyright (C) 2000 by E.L. Doctorow. Reprinted by permission of Houghton Mifflin Company. Excerpted from The Best American Short Stories 2000 All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Table of Contents

E. L. Doctorow and Geoffrey Becker
Forewordp. ix
Introductionp. xiii
Black Elvis 1 from PloughsharesAmy Bloom
The Story 12 from StoryMichael Byers
The Beautiful Days 23 from PloughsharesRon Carlson
The Ordinary Son 49 from Oxford AmericanRaymond Carver
Call If You Need Me 67 from GrantaKiana Davenport
Bones of the Inner Ear 78 from StoryJunot Díaz
Nilda 89 from The New Yorker NathanEnglander
The Gilgul of Park Avenue 98 from The Atlantic MonthlyPercival Everett
The Fix 121 from New York StoriesTim Gautreaux
Good for the Soul 135 from StoryAllan Gurganus
He's at the Office 151 from The New YorkerAleksandar Hemon
Blind Jozef Pronek 166 from The New YorkerKathleen Hill
The Anointed 182 from DoubleTakeHa Jin
The Bridegroom 208 from Harper's Magazinearilyn Krysl
The Thing Around Them 228 from Notre Dame ReviewJhumpa Lahiri
The Third and Final Continent 248 from The New YorkerWalter Mosley
Pet Fly 266 from The New YorkerZZ Packer
Brownies 280 from Harper's MagazineEdith Pearlman
Allog 301 from AscentAannie Proulx
People in Hell Just Want a Drink of Water 316 from GQ FrancesSherwood
Basil the Dog 332 from The Atlantic Monthly Contributors' Notes 349 100 Other Distinguished Stories of 1999 361 Editorial Addresses of American and Canadian Magazines Publishing Short Stories 365