Burning House

The now-classic, utterly unique voice of Ann Beattie is so dry it throws off sparks, her eye endowed with the emotional equivalent of X-ray vision. Her characters are young men and women discovering what it means to be a grown-up in a country that promised them they'd stay young forever. And here, in shapely, penetrating stories, Beattie confirms why she is one of the most widely imitated -- yet surely inimitable -- literary stylists of her generation. In The Burning House, Beattie's characters go from dealing drugs to taking care of a bereaved friend. They watch their marriages fail not with a bang but with a wisecrack. And afterward, they may find themselves trading confidences with their spouses' new lovers. The Burning House proves that Beattie has no peer when it comes to revealing the hidden shapes of our relationships, or the depths of tenderness, grief, and anger that lie beneath the surfaces of our daily lives.

Born in 1947, Ann Beattie grew up in the suburbs of Washington, D.C., attended college at American University, and went on to do graduate work in English literature at the University of Connecticut. She began writing stories out of frustration with her doctoral work. After rejecting twenty-two submissions, <b>The New Yorker</b> published Beattie's "A Platonic Relationship" in 1974, and Beattie became a regular contributor to the magazine. Her first collection of stories, <b>Distortions</b>, and her first novel, <b>Chilly Scenes of Winter</b>, appeared simultaneously in 1976 and initiated a long-standing critical debate as to whether Beattie's greater strength is in the story or the novel. All critics agree, however, on the uniqueness of her style and her uncanny ability to expose certain truths about