Narrator Mia Barron has an ironic tone that keeps her voice grounded, and she plays with the level of anxiety in the voices of the main characters. Tassie goes to work as a babysitter for Sarah Brink, who is about to adopt a baby, and muses during their interview on the Midwestern tic of agreeing by saying "Sounds good!" a phrase so unassuming that it's "mere positive description". Forever accomodating in this way, Tassie allows herself to be drawn into a family drama she's wildly unprepared for. The engine of this drama is Sarah, and Barron's performance makes her voice distinctively high and tight, brittle but controlled. At first, this control seems only a cover for new-mother jitters, but as time goes on we begin to detect something darker beneath.
Life is arbitrary and chaotic in Moore's world, and the inner monologues of her characters are correspondingly thick with puns: accidental, meaningless resonances between words that have no real relationship each other. An overheard conversation at a support group slips from talk about "suffering sweepstakes" to "suffering succotash". How can anyone be sure what they mean when they have to rely on these slippery words? What Tassie learns during this year of college is that in life, as in language, it's easy to find false affinities. If this sounds light, it's not. What's said is complex, and what isn't said has devastating consequences. Rosalie Knecht
©2009 Lorrie Moore; ©2009 BBC Audiobooks America
This was the most boring book I have listened to in a long time. My book club chose this book, so I plodded through it. The main character is dull, uninteresting and completely spineless. I kept waiting for something interesting to happen in this book and it never did.
A wonderful writer who uses the English language like a painting. Humerous and touching.
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