Unkempt: Stories

by Courtney Eldridge

  • Format: Paperback
  • ISBN-13/ EAN: 9780156032087
  • ISBN-10: 0156032082
  • Pages: 276
  • Publication Date: 08/08/2005
  • Carton Quantity: 44

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About the Book
About the Author
Excerpts
Reviews
  • About the Book

    In the seven stories and one novella collected in Unkempt, Courtney Eldridge gives life to characters of astounding originality. Probing the darker corners of the human psyche, she shows-with a sly and unexpected sense of humor-the neurotic mind at work, the skewed perspective of an alcoholic parent, the nature of sexual conquest, and the hazards of working in retail. Fresh, funny, and candid, Eldridge's writing delivers a new and marvelous vision of life.

    Subjects

  • About the Author
  • Excerpts

    Fits & Starts

    What happens is I write a first sentence, then I read the sentence that I've just written, and then I immediately erase that sentence; then I begin anew by writing another first sentence for a completely different story; then another first sentence for another story, so on and so forth. Though I might not immediately write, read, and erase: a week or two or more might pass before the sentence (paragraph, page, or twenty pages) begins to bother me. At first, I usually think the sentence is fine, good even. And at those times, feeling okay about the sentence, I read and reread, as I continue working on the story, moving forward, making progress. Then, occasionally, I'll feel good about what I'm writing. I'll actually feel excited and hopeful, and life seems good. But of course it never lasts.

    Because eventually, somewhere along the line, I begin to hear something tinny or false or vaguely suspect, a perception that builds and builds, and I soon find an irreparable flaw in the sentence. Either the language and/or the thought, the very premise of the story, and all of a sudden I think, What a stupid idea for a story that is! What the hell was I thinking? And soon enough the sentence, language, story, and premise, the whole damn thing bothers me, all of it, everything. Soon I can't stand the first sentence, and it suddenly appears the worst sentence I've ever read and/or the stupidest idea I've ever heard, and it might take a few minutes or a month, but inevitably I start over. The only variation on this theme is the half-finished story, which I usually forsake or abandon, until which time I can erase the entire file without giving it a second thought.

    So instead of offering a complete work, because I don't see that happening anytime soon, I thought I might offer a working list of stories that I have recently or not so recently quit, abandoned, or forsaken, complete with short summaries of each failed effort, in order to give some idea of why they've been sent down. Besides, I like listing. It cheers me up. Listing gives me a sense of purpose and completion, you know. I don't have to feel alone: because I have a list! And I need never feel a sense of failure, checking off an item on any given list. Of course this particular list of failed stories will serve only as a sample of what I might've offered, had I finished any of these particular stories, and is no way intended to reflect the vast killing fields of my hard drive.

    Most recently, as of this last month or two, I quit working on a story that's currently untitled. There are two reasons why this story doesn't have a working title; the first reason being that I rejected the first working title, "Animals Are Our Friends," and the second reason being that the second working title, though much improved, "The Second Coming of Ethel Merman," was likewise rejected. In any case, that story begins:

    My daughter bats headless chickens out of the trees with an old broom.

    There's more to it than that sentence, like eight or nine pages more, but due to nagging syntactical doubts with the first sentence, I've put that story on the back burner for the time being. Long ago I bought into the idea that no one will read beyond a first sentence, so I put a lot of pressure on the perfect first sentence.

    I used to finish more stories, or some at least, though not very good stories, and some were just lousy, and others were painfully bad, bad stories, really. But still, I finished them at least. Unfortunately, sometime shortly after I submitted my first story, I heard that you only get a paragraph. I heard that when you submit a story, any given reader at any given quarterly or little magazine or wherever will read the first paragraph of your story and then decide if it's worth continuing, or pitch the story in the reject pile then and there. Then, when the first story I submitted was rejected, rightly, I'm sure, I started thinking more about my first paragraphs. Then I heard somewhere that you don't get a paragraph, no, you only get a first sentence, and that's when I started fretting about my first sentences. Then, just to make matters worse, a friend told me not even, you don't even get an entire sentence, no: you only get five words. That's right: five words. My friend insisted the first five words were make-or-break. And I believed him. It seemed plausible, what with everything you read about our short attention spans these days.

    So ever since then, for a good three, four years now, whenever I'm at a bookstore, I can't help but open book after book, and I read the first sentence, counting along, tapping the first five words on the fingers of my right hand. What's more, it's a hard habit to shake, and I don't get much reading done that way, and it's annoying, really. So I was talking to my friend recently, and he asked what I was reading, and I said not much, and I mentioned this behavior to him, and he apologized, because he had no recollection of saying that to me, what he said about the first five words. He gave it some thought, and he said he stands by what he said, somewhat, the first five words are important, yes, but he simply can't remember saying that to me. Well, anyway.

    My daughter bats headless chickens out of the trees with an old broom-I can't say what, but something is just not right. Though I really don't know why I should start worrying about syntax now, I never have before, but still. And I wouldn't say I've abandoned this story just yet, I'd prefer to say its fate is undecided. Besides which, I'm extremely, extremely superstitious when it comes to my writing. I honestly believe that I'm really asking for trouble, talking about a story, even mentioning a story before it's finished, so as a rule, I never talk about my stories with anyone; and the closer the acquaintance, the more liable I am to failure. But anyone at all, really. Like when I meet people and they politely ask what I do, and I try to spit out something about writing, and if they should then ask about my writing, I just tell them, I'm sorry, I can't really talk about it, and we both seem relieved. Anyway, that's the second reason why I can't talk about this story or call it by a proper title, really, as I'm not ready to give up on it yet. Because every time I have ever discussed a story before it's finished, I've abandoned the story. Forget I mentioned it.

    Coincidentally, the next story on my list also has a chicken theme, and it, too, falls into the category of unfinished-but-not-yet-completely-abandoned stories. It's a work in progress, a piece of nonfiction that I've simply called "Pinkie," for the lack of a proper title, and hoping to dodge the jinx, and so as not to confuse it with any other, for the past year or two. And, as of today, the story of Pinkie still begins:

    Honestly, there was no Pinkie, and Pinkie was certainly not my grandfather, though there was a doll called "Pinky" and a man called "Winky." And the true story of Joe "Winky" Edmonds is this: As a child, no more than five or six, Joe Edmonds and his older brother were playing in the yard during the time of slaughter, when the boys noticed the ax left lodged in the tree stump. So the elder brother dared the younger brother to a game of chicken, to place his left hand on the butchering block, and the younger brother accepted the dare. Not to be bested by his younger brother, the elder dared the younger to spread his fingers wide apart, and the younger accepted the dare. All right, then, I'm going to give you to the count of three, and then I'm going to swing, the elder said, focusing his aim. He thought, of course, the younger would flinch as soon as he moved the ax, so the elder brother said, One...? The younger didn't move his finger. Then he said, Two...? But still the younger didn't move a muscle. Finally, the elder brother said, This is your last w...

  • Reviews

    PRAISE FOR UNKEMPT

    "New Yorker Courtney Eldridge creates dark chaotic worlds, then traps the reader inside this space until they have read the last word, thereby becoming her collaborator . . . Eldridge's [obsessions] are bloody, naked and screaming. It's hard not to look."

    -SAN FRANCISCO CHRONICLE

    "[A] skewed, jittery, dazzlingly original collection . . . Neurosis is to Eldridge's stories what suburbia was to Cheever's: it's at once context, antagonist and metasubject. Her brilliant trick is to write in a voice so colloquially familiar that we don't automatically classify these crazy people as 'the other' but rather recognize them as our friends, our family members or even ourselves." -THE NEW YORK TIMES BOOK REVIEW

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