Synopses & Reviews
In her best-selling story collection, Birds of America
(“[it] will stand by itself as one of our funniest, most telling anatomies of human love and vulnerability” James McManus, front page of The New York Times Book Review
), Lorrie Moore wrote about the disconnect between men and women, about the precariousness of women on the edge, and about loneliness and loss.
Now, in her dazzling new novel — her first in more than a decade — Moore turns her eye on the anxiety and disconnection of post-9/11 America, on the insidiousness of racism, the blind-sidedness of war, and the recklessness thrust on others in the name of love.
As the United States begins gearing up for war in the Middle East, twenty-year-old Tassie Keltjin, the Midwestern daughter of a gentleman hill farmer — his “Keltjin potatoes” are justifiably famous — has come to a university town as a college student, her brain on fire with Chaucer, Sylvia Plath, Simone de Beauvoir.
Between semesters, she takes a job as a part-time nanny. The family she works for seems both mysterious and glamorous to her, and although Tassie had once found children boring, she comes to care for, and to protect, their newly adopted little girl as her own.
As the year unfolds and she is drawn deeper into each of these lives, her own life back home becomes ever more alien to her: her parents are frailer; her brother, aimless and lost in high school, contemplates joining the military. Tassie finds herself becoming more and more the stranger she felt herself to be, and as life and love unravel dramatically, even shockingly, she is forever changed.
This long-awaited new novel by one of the most heralded writers of the past two decades is lyrical, funny, moving, and devastating; Lorrie Moore's most ambitious book to date — textured, beguiling, and wise.
"The admired fiction writer Lorrie Moore has a unique gift. She can be screamingly funny — and in the very next paragraph, able to convey terrible grief....Her language is dazzling." USA Today
"[ A Gate at the Stairs ] is a gift." Philadelphia Inquirer
"Moore is such a bright, witty writer...A Gate at the Stairs is Moore's first novel in 15 years, which means a whole generation of readers has grown up thinking of her only as one of the country's best short-story writers. Get ready to expand your sense of what she — and a novel — can do...what's so endearing is Moore's ability to tempt us with humor into the surreal boundaries of human experience, those strange decisions that make no sense out of context, the things we can't believe anyone would do. The novel's climax takes us right into the disorienting logic of grief for a scene that's both horrifying and tender, a grotesque violation of taboos that's entirely forgivable and heartbreaking." Ron Charles, The Washington Post
"Moore may be, exactly, the most irresistible contemporary American writer: brainy, humane, unpretentious and warm; seemingly effortlessly lyrical; Lily-Tomlin-funny. Most of all, Moore is capable of enlisting not just our sympathies but our sorrows....This book plumbs deep because it is anchored deep." Jonathan Lethem, The New York Times Book Review
"Contemporary fiction has produced few noticers with a better eye and more engaging voice than Tassie Keltjin, the narrator of Lorrie Moore's deceptively powerful A Gate at the Stairs. For much of Moore's first novel in 15 years — her short stories have established her as something of a Stateside Alice Munro — Tassie's eye and ear are pretty much all there is to the book....The enrichment of such complications makes this one of the year's best novels." Kirkus Reviews (featured review)
"The unique vision and exquisite writing cast a spell." Booklist (starred)
"[A] luminous, heart-wrenchingly wry novel....Moore's graceful prose considers serious emotional and political issues with low-key clarity and poignancy...generous flashes of wit endow this stellar novel with great heart." Publishers Weekly (starred)
"Her most powerful book yet....An indelible portrait of a young woman coming of age in the Midwest in the year after 9/11....The novel explores, with enormous emotional precision, the limitations and insufficiencies of love, and the loneliness that haunts even the most doting of families....Most memorably, in this haunting novel Ms. Moore gives us stark, melancholy glimpses into her characters' hearts, mapping their fears and disappointments, their hidden yearnings and their more evanescent efforts to hold on to their dreams in the face of unfurling misfortune." Michiko Kakutani, The New York Times
"Fifty years from now, it may well turn out that the work of very few American writers has as much to say about what it means to be alive in our time as that of Lorrie Moore." Jonathan Dee, Harper's Magazine
“Moore tells a deeply troubling story about race and class and gender in post-9/11 America. And she does it with characteristic wit and intelligence, without letting a soul off the hook....Dazzling.” The Oregonian
Finalist for the PEN/Faulkner Award
Finalist for the Orange Prize for Fiction
Chosen as a Best Book of the Year by The New York Times Book Review, The Washington Post, Chicago Tribune, The Christian Science Monitor, Kansas City Star, Financial Times, St. Louis Post-Dispatch, and Real Simple
Twenty-year-old Tassie Keltjin, the daughter of a gentleman farmer, has come to a university town as a student. When she takes a job as a part-time nanny for a mysterious and glamorous family, she finds herself drawn deeper into their world and forever changed. Told through the eyes of this memorable narrator, A Gate at the Stairs is a piercing novel of race, class, love, and war in America.
About the Author
Lorrie Moore is the author of the story collections Birds of America, Like Life, and Self-Help and the novels Who Will Run the Frog Hospital? and Anagrams. Her work has won honors from the Lannan Foundation and the American Academy of Arts and Letters, as well as the Irish Times International Prize for Fiction, the Rea Award for the Short Story, and the PEN/Malamud Award. She is a professor of English at the University of Wisconsin in Madison.
Reading Group Guide
The questions, discussion topics, and suggestions for further reading that follow are designed to enhance your group's discussion of A Gate at the Stairs
, the powerful, poignant, and laugh-out-loud story of a young woman's coming of age in the Midwest in the unsettling aftermath of the terrorist attacks of September 2001 and America's buildup to war.
1. In addition to her sense of humor and intelligence, what are Tassie's strengths as a narrator? How does what she describes as “an unseemly collection of jostling former selves” (p. 63) affect the narrative and contribute to the appeal of her tale?
2. In the farming community where Tassie grew up, her father “seemed a vaguely contemptuous character. . . . His idiosyncrasies appeared to others to go beyond issues of social authenticity and got into questions of God and man and existence” (p. 19). Does the family, either intentionally or inadvertently, perpetuate their standing as outsiders? How does Moore use what ordinarily might be seen as clichés and stereotypes to create believable and sympathetic portraits of both the locals and the Keltjin family?
3. How does the initial meeting between Tassie and Sarah (pp. 10-24) create a real, if hesitant, connection between them? What aspects of their personalities come out in their conversation? To what extent are their impressions of each other influenced by their personal needs, both practical and psychological?
4. Are Sarah's ill-chosen comments at the meetings with Amber (p. 32) and Bonnie (pp. 89-90, p. 93) the result of the natural awkwardness between a birth mother and a potential adoptive mother or do they reveal deeper insecurities in Sarah? Does the adoption process inevitably involve a certain amount of willful deception, unenforceable promises (p. 87), and a “ceremony of approval . . . [that is] as with all charades. . . . wanly ebullient, necessary, and thin” (p. 95)?
5. What is the significance of Tassie's first impression of Edward-“one could see it was his habit to almost imperceptibly dominate and insult”-and her realization that “[d]espite everything, [Sarah] was in love with him” (p. 91)? Does Edward's behavior at dinner and the “small conspiracy” he and Tassie establish (pp. 112-114) offer a more sympathetic (or at least more understandable) view of him? Are there other passages in the novel that bring out the contradictions between his outward behavior and his private thoughts?
6. Does A Gate at the Stairs accurately reflect the persistence of racism in America? What do the comments and encounters sprinkled throughout in the novel (pp. 80, 112, 151, 167, 229) show about the various forms racism takes in our society?
7. Do you agree with Sarah's statement, “Racial blindness-now there's a very white idea” (p. 86)? What do the discussions in Sarah's support group (pp. 154-57; 186-90; 194-97) reveal about the different perceptions of reality held by African-Americans and white liberals? What role do class, wealth, and professional status play in opinions expressed by various members of the group? In this context, what is the import of Tassie's description of Mary-Emma's affection for Reynaldo: “the colorblindness of small children is a myth; she noticed difference and sameness, with almost equal interest; there was no 'Dilemma of Difference' as my alliteration-loving professors occasionally put it” (p. 169)?
8. How would you characterize the comments about religion throughout the novel (pp. 41, 108, 129)? What is the significance of the fact that Tassie's mother is Jewish, a woman of “indeterminate ethnicity” in a churchgoing community? Why are Roberta Marshall and Sarah so cavalier about Bonnie's insistence that her child be raised as a Catholic (p. 87)? How do Reynaldo's revelations about his activities and beliefs (pp. 204-8) fit into Tassie's view of God and religion in general? On page 296, Tassie offers a thoughtful explanation of the purpose of religion in people's lives. Are there other lessons about the meaning of religion or faith to be found in the novel?
9. The title of the book comes from a ballad Tassie writes with her roommate (p. 219-20). What does music-playing the bass and singing to Mary-Emma-represent to Tassie? How does it connect her to her own family and to Mary-Emma?
10. Does the novel prepare you for Sarah's dreadful confession (pp. 232-242)? What particular incidents or conversations foreshadow the revelations? How do Sarah's “conventional” beliefs about men and women affect the couple's behavior during and after the tragedy (pp. 240, 244)? Was their decision to move and start anew the best solution under the circumstances? Do the reasons Sarah gives for remaining with Edward make emotional sense? If they had been able to keep their secret hidden, would they have been able to create a happy future with Mary-Emma?
11. Nannies and other household help often grasp things families don't realize about themselves. Is Tassie an objective chronicler of life in the Brink-Thornwood household? What biases does she bring to her observations? How do her perceptions and opinions change over the course of the novel? In what ways does her growing attachment to Mary-Emma and her relationship with Sarah account for these changes? In what ways are they attributable to the developments in her personal life?
12. How do the vignettes of Tassie's visits home and her life in Troy play off one another? What do Tassie's conversations with her family bring out about the ambivalence she (and many college students) experience? Why does Tassie fail to recognize the depth of Robert's pain and confusion? Is Robert's decision to join the army given the attention it deserves by the rest of the family?
13. Does the Midwestern setting of the novel offer a distinctive perspective on September 11, 2001, and the mood of the country? How were the events experienced in other parts of America-for example, in the cities directly affected by the terrorist attacks?
14. Lorrie Moore has been widely praised for her affecting depictions of human vulnerability and her dark humor. How does Moore integrate clever one-liners, puns, and wordplay into the serious themes she is exploring? What role does humor play in exposing the thoughts, feelings, and fears the characters are unwilling or unable to express? Does it heighten the emotional force of the novel or diminish it?
15. “I had also learned that in literature-perhaps as in life-one had to speak not of what the author intended but of what a story intended for itself” (p. 263-64]. How does this quotation apply to your reading of A Gate at the Stairs?
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