All of these stories are great. Especially "How to Be a Writer" read that aloud to your students whenever possible. ( )

http://www.iwilldare.com/2008/01/27/t...

You pick up Lorrie Moore’s collection of short stories called Self-Help because you’ve always admired her writing. Plus, your own writing is often compared to hers. Not because you are a master of the form, like Moore, but more because your short stories are peppered with a sort of sad and self-deprecating humor.

What you love about reading short story collections over short story anthologies is that you can pick up the threads that move throughout the stories. Moore has a thing for opera singers and women who work in retail, women with cheating men and weird moms. You enjoy the collection because you enjoy Moore’s writing, however you are a little put off by the choice of the second person in so many of the stories.

This slender volume of stories depicts troubled relationships in varying states of decay with a sure and smooth hand. Moore is able to create a wide range of voices; it is only on finishing the book that you realize how different all her narrators were. Many of the stories feature women in bad relationships, but Moore never seems to be repeating herself.

Probably the most notable technique in this book is the author's frequent use of the second person narrator. She describes as 'you' have an affair, stay in a relationship you're not committed to, remember your mother, suspect your partner of adultery and try to become a writer. Her choice of narrative voice nicely syncs up with the book's title and is also ironic since many of the second person stories describe the self-destructive things you do, instead of providing advice. It also gives the reader a sense of how some of the events described happen without you consciously desiring it and wondering how you ever got to that point. For example, the first story "How to Be an Other Woman" describes as "you" conduct an affair. Here, the second person narrator never meant to get so deeply involved in the situation and wonders how she could possibly have put herself in such a demeaning position. The narrative voice implicates the reader in the relationship, and you find yourself swept along in the developments, hoping that 'you' finally end it. The opposite situation is in the story "How": here, you're the one who's not into the relationship, but inertia, pity and ambivalence keep you from ending it.

Those two were my favorites, for the narrative style, the humor and also the little details that Moore adds. In the first story, Moore describes your underemployment:

"Unfortunately, you have lost the respect of all but one of your coworkers and many of your superiors as well, who are working in order to send their daughters to universities so they won't have to be secretaries, and who, therefore, hold you in contempt for having a degree and being a failure anyway. It is like having a degree in failure."

And some great lines:

"When you were six you thought mistress meant to put your shoes on the wrong feet. Now you are older and know it can mean many things, but essentially it means to put your shoes on the wrong feet."

"Wonder about mistress courses, certification, resumes. Perhaps you are not really qualified."

"What is Seized" is narrated in the first person and movingly describes the narrator's mother's discontent in her marriage to a cold man.

"The Kid's Guide to Divorce" is a short tale, with a bittersweet end.

"Go Like This" is in the first person again, and a complete change from the previous stories with young, unsure narrators. The woman in this story is coldly, rationally, preparing her own suicide, but finds that she can't keep the emotions at bay.

"How to Talk to your Mother (Notes)" was, in my opinion, the weakest story. It moves backwards in time, but never answers some of the questions that you learn about initially. Also, it was lacking the telling details that characterize the other pieces.

"Amahl and the Night Visitors: A Guide to the Tenor of Love" is again in the second person and about cheating. This time, you wonder if your lover is having an affair.

"How to Become a Writer" is pretty funny and makes you wonder how much Moore based on her own experiences. You make a lot of hilarious, but poorly informed, writing choices, such as an update of Moby Dick featuring "a menopausal suburban husband named Richard, who because he is so depressed all the time is called 'Mopey Dick'".

The last story, "To Fill" is about a seemingly average wife and mother who descends into madness. The story has a near apocalyptic tone, which in some ways reminded me of the great "The Day of the Locust". ( )

Back in print in a new Vintage edition, Moore's stories read like a How-To manual for life--clever and sparkling with Moore's wit and candor. This collection marked the beginning of Moore's career, comprised mainly of works from her graduate thesis. If you haven't read any of her works, this one is a great place to start. ( )