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I Hate To See That Evening Sun Go Down: Collected Stories, by William Gay
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William Gay established himself as "the big new name to include in the storied annals of Southern Lit" (Esquire) with his debut novel, The Long Home, and his highly acclaimed follow-up, Provinces of Night. Like Faulkner's Mississippi and Cormac McCarthy's American West, Gay's Tennessee is redolent of broken souls. Mining that same fertile soil, his debut collection, I Hate to See That Evening Sun Go Down, brings together thirteen stories charting the pathos of interior lives. Among the colorful people readers meet are: old man Meecham, who escapes from his nursing home only to find his son has rented their homestead to "white trash"; Quincy Nell Qualls, who not only falls in love with the town lothario but, pregnant, faces an inescapable end when he abandons her; Finis and Doneita Beasley, whose forty-year marriage is broken up by a dead dog; and Bobby Pettijohn -- awakened in the night by a search party after a body is discovered in his back woods.
William Gay expertly sets these conflicted characters against lush backcountry scenery and defies our moral logic as we grow to love them for the weight of their human errors.
- Sales Rank: #283317 in Books
- Brand: Brand: Free Press
- Published on: 2003-10-01
- Released on: 2003-10-01
- Original language: English
- Number of items: 1
- Dimensions: 8.44" h x .80" w x 5.50" l, .89 pounds
- Binding: Paperback
- 320 pages
- ISBN13: 9780743242929
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
From Publishers Weekly
In this collection of 13 short stories, Southern writer Gay (Provinces of Night; The Long Home) confirms his place in the Southern fiction pantheon. Set in rural Tennessee, the stories pulsate with the inevitability of emotional pain, sometimes charged with fear, other times with limitless rage. Gay's characters are perpetually frustrated with the world's awkwardness and obstinacy, lashing out in bizarre ways. After shooting his wife's yapping dog and then facing divorce proceedings, the protagonist of "Sugarbaby" flees responsibility and commits suicide rather than face the music. About to leave town with a young woman who exudes "sullen eroticism," the downwardly mobile television salesman whose desperation animates "The Man Who Knew Dylan" deserts her at a bus stop, smelling too much trouble to handle. In the more ironic stories, natural forces stifle rebellion. The title tale peaks when an old man pushed out of his home by his son tries unsuccessfully to burn out the house's new occupants, nearly killing himself. Although the stories maintain an alluringly simple, spare affect, they are complex in their psychological underpinnings and their poetically described settings range from deep woods to shady towns to the half-junkyard, half-wilderness hell of the area known as "the Harrikin," to which several of Gay's characters flee when they reach the end of their tether. The very names establish authenticity: Finis Beasley, Billy Crosswaithe, Bonedaddy, Quincy Nell. Despite occasional rambling sentences revealing the influence of Cormac McCarthy or the odd false-ringing line of twangy dialogue, this collection is a fine showcase for Gay's imaginative talent.
Copyright 2002 Reed Business Information, Inc.
From Library Journal
Gay (Provinces of Night; The Long Home) offers a collection of stories whose characters arrive at a crossroads and usually choose the wrong path, be it violence, arson, or suicide. In the title story, an elderly man escapes his retirement home and uses extreme measures to rid his house of the family who is renting it. "The Paperhanger" involves a Pakistani doctor's wife, her difficulties with the titular paperhanger, and a missing child. In "Closure" and "Roadkill on the Life's Highway," a quest for a hidden stash of money gives the protagonist the means to come to terms with his estranged wife. Gay often fails to connect characters with the reader, so it's hard to understand why they make their violent, irrational decisions. But in the stronger stories the truth of the characters comes through. For larger public libraries and collections of Southern fiction. Christine DeZelar-Tiedman, Univ. of Minnesota Lib., Minneapolis
Copyright 2002 Cahners Business Information, Inc.
From Booklist
*Starred Review* A bitter, betrayed teenage girl murders her former boyfriend, a fellow named Bonedaddy. A seemingly happy marriage is torn apart when a husband shoots his wife's dog. This is the South of Gay's short fiction, "a countryside so beleaguered and desolate even the dead were fleeing it." He brings to these stories the same astounding talent that earned his two novels, The Long Home and Provinces of Night, a devoted following. In "The Paperhanger," the most haunting in this consistently excellent collection, the daughter of a Pakistani family disappears. The paperhanger, in the house at the time of the girl's disappearance, along with other workers building the family's dream house, is only briefly a suspect. The girl's mother sits for weeks on her half-finished veranda as her marriage and life fall apart before meeting a horrifying fate at the hands of the paperhanger. The ordinary evil of the characters, each of them broken, is the hallmark of these gut-wrenching tales, stories told from half-finished verandas about wholehearted attempts to bandage the wounds of the human spirit with cheap wallpaper. John Green
Copyright � American Library Association. All rights reserved
Most helpful customer reviews
17 of 18 people found the following review helpful.
Middle Tennessee Stories: Heart of Darkness
By Foster Corbin
I'd give eleven of these thirteen short stories an A+, the remaining two, a B+. This is a good a collection of short stories as you'll find. It's no wonder that the critics have nothing but praise for Mr. Gay. Many of the characters are similar. Alhough they are told in the third-person, the stories belong to the menfolks. They are tough, quiet, often angry and capable of violence at the slightest provocation. (In "Crossroads Blues," the character Borum, in describing how he shot his wife and his brother when he found them in bed together says, "You need to know what a man's capable of.") Sometimes they are the victims of their own inaction until it is too late to extricate themselves from the dilemmas they find themselves, and they do something horrific. They often have difficulties with women, ever seeking the elusive female in their lives. In some stories there is conflict between children and older parents. There are murders, accidental killings, suicides, accidental deaths-- and divorces, infidelities, teenage pregnancies and abortions, cancer and Alzheimer's. These characters inhabit, at least some of them, a place called Ackerman Field, somewhere near Nashville, Tenneseee where there is still a "high sheriff." They listen to George Jones, the Carter Family and Jimmie Rogers. But these characters certainly are not freaks and are ultimately very sympathetic. I have known some of these men; they are strong as oak trees.
According to biographical information on Mr. Gay, he is largely self-taught and is a voracious reader. A seventh grade teacher gave him a copy of Thomas Wolfe's LOOK HOMEWARD ANGEL; and the rest is, as they say, history. Like Wolfe, sometimes Mr. Gay's prose gets a little too ornate; for the most part, however, he's a joy to read. Mr. Gay is a great lover of similes and metaphors; they often work beautifully. Windows are "stoned by double-dared boys." A man views his naked, sleeping wife "in the filigreed moonlight at once real yet as remote and lost as a dusty nude study stacked in a museum's forgotten corner." A room in a funeral home is "a cozy paneled vestibule just one door removed from eternity."
This is probably sparrows screeching at eagles but I believe the term is "jerry-rigged" (p. 120) rather than "jury-rigged." But then, even Homer nodded.
These are quite fantastic stories.
12 of 13 people found the following review helpful.
Kindle edition is a mess
By Guy Mason
The book, as it stands, is fine I suppose. But it's difficult to determine this with all of the typos and formatting errors that exist in the kindle edition. Words were spelled wrong, there was poor grammar, and formatting issues that separate text for clarity that exist in the printed book are all gone and corrupted in the kindle version. There doesn't seem to be any other way to address this on amazon, so here's my review.
2 of 2 people found the following review helpful.
how dark is too dark?
By David Hewitt
There is no doubt of this much: William Gay is a first-rate writer. There's no arguing with his ability to tell or construct a story, or to rhapsodize with effortlessly glittering prose. And there is a scarcely a weak story to be found in this collection. What I do question, foremost, is the man's range. While understanding that a collection of short stories can be connected thematically to be interpreted as a whole, I still was somewhat put off by the sameness which ran through all of them: the circumstances and characters were varied so slightly as to be virtually indistinguishable at times, making for a compendium of utterly bleak tragedies by an author whose world view is one of relentless despair. (Less significant but also worth mentioning is the way Gay repeats certain descriptive metaphors from story to story.)
In portraying the plights of so many lost souls, scrambling for whatever modicum of meaning and comfort they can manage to hang onto in this cruelest of worlds, the humanity Gay presumes to illuminate is at least partially undermined by the raging darkness of a cancerous cynicism which allows for absolutely no hope or light to suffice. Every single story contains at least one death; after a while it just becomes morbidly predictable that the worst-case scenario will emerge. And while one of his characters, Tidewater in "the Lightpainter", is overheard "wishing everything was black and white instead of incremental variations of gray", the reader may well often wish for the same when it comes to some of the secondary characters who populate these stories. Gay's leads are invariably complex and compelling, but this is often not the case with their foils - the callous offspring and spouses and sheriffs against whom they are pitted. Similarly, it is the overriding and unchanging perspective of stark fatalism which leaves one sensing a lack of dimension in this collection no matter what depth of ambiguity Gay manages to hang on his focal characters.
A fully satisfying read only if you enjoy both masterful writing and being informed how patently irredeemable life is.
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