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All of these eight wonderful stories are about what people will do for love, and the unexpected routes their passion will force them to take. An old landlady in Vancouver who alarms the just-married narrator with her prim advice about married life – and “the peculiar threat” of a china cabinet that must be washed once a month – is shown to have conspired when young in a crime of passion. A young mother, at the mercy of the “radiant explosion” that comes when she thinks of her secret life, abandons her baby and four-year old to be with her lover in the story “The Children Stay.” A gruff old country doctor in the 1960s is discovered by his daughter to be helping desperate women, his “special patients.” An impetuous young woman meets a visiting Indian student and conceives on a train from Vancouver to Toronto because of “the fact that you couldn’t get condoms around the Calgary station, not for love or money.” An Ontario farm wife’s affair drives her husband to commit a murder; its discovery, years later, will act as a negotiating point for a new, presumably satisfactory, marriage. The book is clear-eyed about the imperfections of marriage, the clutter of our emotional lives, and the impermanence of love: “Not that that was the end. For we did make up. But we didn’t forgive each other.” Even the shared memories of earlier times prove to be a minefield, and many of the stories track the changes that time brings over generations to families, lovers, and even to friends who share old, intimate secrets about “the prostration of love.” As always these stories by Alice Munro are shot through with humour, and are as rich as novels. As always the characters in the stories are easily, sometimes uncomfortably, recognizable as people like us. One quote summarizes the delightful surprises that await the reader: “Did you ever think that people’s lives could be like that and end up like this? Well, they can.”
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Alice Munro might not think of herself as a feminist author (http://www.newyorker.com/books/page-turner/on-dear-life-an-interview-with-alice-munro), but she sure reads like one, in the best possible way. I also sometimes struggle with collections of short stories - if a novel's theme is like hitting a big gong and letting the reverberations ripple out into the air over the course of the book, sometimes a collection of short stories feels to me like someone keeps hitting a smaller gong over and over again. I did not have this struggle with Munro, despite my previous experience of her being restricted to single stories at a time in The New Yorker. I don't think I could ever get tired of what she has to say, and the thematic consistencies across her stories feel like meaningfully different variations on answers to her larger questions.