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Intimations: Stories
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From the celebrated author of You Too Can Have a Body Like Mine,a thought-provoking, often unsettling story collection that consists, broadly, of narrative diagrams of the three main stages in a human life: birth, life, and death.

Alexandra Kleeman's debut novel You Too Can Have a Body Like Mine earned her comparisons to Thomas Pynchon, Don DeLillo, Ben Marcus, and Tom Perrotta. It was praised by the New York Times as ""a powerful allegory of our civilization's many maladies, artfully and elegantly articulated, by one of the young wise women of our generation.""

In her second book, a collection of twelve stories irresistibly seductive in their strangeness, she explores human life from beginning to end: the distress of birth into a world already formed; the brief and confusing period of ""living"" where we understand what is expected of us and struggle to do it; and the death-y period toward the end where we sense it is ending and will end only partially understood, at best.

The title is taken from one of the stories (""Intimation""), but is also a play on Wordsworth's ""Intimations of Immortality""—only in this case it's not clear exactly what is being intimated, but it's nothing so gleaming and good as Immortality. The middle, ""Living"" section of the book, is fleshed out with a set of stories that borrow more from traditional realist fiction to illustrate the inner lives of the characters.

At once familiar and mysterious, these stories have an eerie resonance as its characters find themselves in new and surprising situations. An unnamed woman enters a room with no exit and a ready-made life; the disappearance of people, objects, and memory creates an apocalypse; the art of dance is used to try to tame a feral child; the key to surviving a house-party lies in knowing the difference between fake and real blood.

Elegant, surprising, wondrous, and haunting, Intimations is an utterly transporting collection from one of our most ingenious and brilliant young writers.

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Format:
OverDrive MP3 Audiobook, OverDrive Listen
Edition:
Unabridged
Street Date:
09/13/2016
Language:
English
ISBN:
9780062562968

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APA Citation (style guide)

Alexandra Kleeman. (2016). Intimations: Stories. Unabridged HarperAudio.

Chicago / Turabian - Author Date Citation (style guide)

Alexandra Kleeman. 2016. Intimations: Stories. HarperAudio.

Chicago / Turabian - Humanities Citation (style guide)

Alexandra Kleeman, Intimations: Stories. HarperAudio, 2016.

MLA Citation (style guide)

Alexandra Kleeman. Intimations: Stories. Unabridged HarperAudio, 2016.

Note! Citation formats are based on standards as of July 2022. Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy.

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        Alexandra Kleeman has written for the New Yorker, Harper's, Paris Review, Zoetrope, Tin House, VOGUE, and n+1. She received her MFA in fiction from Columbia University and has received grants and scholarships from the Bread Loaf Writers' Conference, the Virginia Center for the Creative Arts, and the Santa Fe Art Institute. She was the 2016 winner of the Bard Fiction Prize, and lives in New York.

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Intimations
fullDescription

From the celebrated author of You Too Can Have a Body Like Mine,a thought-provoking, often unsettling story collection that consists, broadly, of narrative diagrams of the three main stages in a human life: birth, life, and death.

Alexandra Kleeman's debut novel You Too Can Have a Body Like Mine earned her comparisons to Thomas Pynchon, Don DeLillo, Ben Marcus, and Tom Perrotta. It was praised by the New York Times as ""a powerful allegory of our civilization's many maladies, artfully and elegantly articulated, by one of the young wise women of our generation.""

In her second book, a collection of twelve stories irresistibly seductive in their strangeness, she explores human life from beginning to end: the distress of birth into a world already formed; the brief and confusing period of ""living"" where we understand what is expected of us and struggle to do it; and the death-y period toward the end where we sense it is ending and will end only partially understood, at best.

The title is taken from one of the stories (""Intimation""), but is also a play on Wordsworth's ""Intimations of Immortality""—only in this case it's not clear exactly what is being intimated, but it's nothing so gleaming and good as Immortality. The middle, ""Living"" section of the book, is fleshed out with a set of stories that borrow more from traditional realist fiction to illustrate the inner lives of the characters.

At once familiar and mysterious, these stories have an eerie resonance as its characters find themselves in new and surprising situations. An unnamed woman enters a room with no exit and a ready-made life; the disappearance of people, objects, and memory creates an apocalypse; the art of dance is used to try to tame a feral child; the key to surviving a house-party lies in knowing the difference between fake and real blood.

Elegant, surprising, wondrous, and haunting, Intimations is an utterly transporting collection from one of our most ingenious and brilliant young writers.

reviews
      • premium: True
      • source: Publisher's Weekly
      • content:

        July 18, 2016
        Following her excellent debut novel, You Too Can Have a Body Like Mine, Kleeman brings her twisted, evocative style to a thought-provoking collection of stories. In “Fairy Tale,” Kleeman creates a dreamlike scene: a woman sits at a banquet table that feels “sorely, mortally dangerous.” A man appears and provides “assurances that I love you, that I think of you deeply,” and then says, “Also, I came here to kill you.” Barbarism and the perils of intimacy continue as themes throughout the collection. “The Weather” is an atmospheric, metaphysical examination of a family (“We study the weather from within this house, and we are the weather within this house”). The stories in the second section of the book have a more realistic but no less unsettling tone. “Choking Victim,” about a lonely young mother, stands out as an exploration of the lurking danger of the everyday. In the third and final section, Kleeman explores death and endings: “Fake Blood” is about a party that turns dark and violent while “Hylomorphosis” is about what, exactly, angels are made of. These stories, absurdist, bleak, and funny, defy straightforward interpretation and instead linger long afterward, to be reinterpreted as they mutate in the reader’s mind. Agent: Claudia Ballard, WME Entertainment.

      • premium: True
      • source: Library Journal
      • content:

        April 15, 2016

        Having debuted triumphantly with You Too Can Have a Body Like Mine, winner of the 2016 Bard Fiction Prize, Kleeman returns with 12 on-life's-edge stories.

        Copyright 2016 Library Journal, LLC Used with permission.

      • premium: True
      • source: Library Journal
      • content:

        September 1, 2016

        Winner of the 2016 Bard Fiction Prize for You Too Can Have a Body Like Mine, Kleeman returns with 12 edgy stories that have a surreal, even primal feel. A young woman, sitting in a dining room with her parents, is confused by the increasing number of unrecognizable men (one murderous) claiming to be her suitors, while a dancing-master in an unspecified time and place is smugly convinced that his art can civilize a feral lad who's staggered into the village. Elsewhere, a journalist fails to connect with a man she's met while trying to write a story about a dairy farmer, and meteorological events have a scattered impact on family in a too-fragmented narrative. VERDICT Disturbing and fantastical in concept if not in language, these stories have the same disaffected feel as Kleeman's novel and won't convince all readers. For Kleeman fans. [See Prepub Alert, 3/21/16.]

        Copyright 2016 Library Journal, LLC Used with permission.

      • premium: True
      • source: Kirkus
      • content:

        July 15, 2016
        Twelve stories take up a variety of absurdist premises to investigate the meaning of life."Nobody thought the apocalypse would be so polite and quirky," according to the final story in this collection, which imagines the end as a series of disappearances--first the house keys, then the cat, then one's boyfriend, a lake, one's memories. This sort of whimsical philosophical inquiry is a common thread in Kleeman's (You Too Can Have a Body Like Mine, 2015) second book. With a literary genealogy that includes great-uncles like DeLillo and Pynchon and cousins like Rivka Galchen and Ben Marcus and can be traced back to/blamed on Samuel Beckett, many of the stories take up matters like "what if lobsters sought revenge?" "what if you forgot who you were?" and "what if the fake blood at a costume party were real?" using a narrator who sometimes seems like a normal person and sometimes like a disembodied poetic intelligence. In the latter form, we get passages like "The snow is what sand would be if it could forget its material, if it could forget its hardness, roughness, if it could forget its own weight. And the snow is what we would be if we could forget ours. If we could become the things we pretend instead of merely pretending at them, playing over and over at a game of falling silent and soft from couch to floor, making ourselves silent and soft as we can, playing at being snow, playing until our elbows and sides are too sore to move." If that--from a 43-page story called "A Brief History of Weather"--goes over your head, there's a group of realist stories embedded in the middle of the collection with a central character named Karen. One of these, "Choking Victim," recently appeared in the New Yorker. Its take on early motherhood combines more conventional character development and plot tension with the "intimations of mortality" that provide a focus for this rather inconsistent collection. For fans of the avant-garde.

        COPYRIGHT(2016) Kirkus Reviews, ALL RIGHTS RESERVED.

      • premium: True
      • source: Booklist
      • content:

        September 1, 2016
        Kleeman follows her much-discussed debut, You Too Can Have a Body like Mine (2015), with a cerebral story collection about the torments of an abrasive world and such visceral topics as mortality, vulnerability, love, and loss of control. Many of the 12 tales are infused with the surreal or intangiblea narrator must choose from among many strange paramours; lobsters take revenge during a Cape Cod holiday; a party goes awry when guests are suddenly axed in the back. In the standout, You, Disappearing, a crumbling relationship is set against the end days, which creep up quietly in moments of vanishing. The uncanny stories in parts 1 and 3 bookend a series of more structured narratives in part 2. Choking Victim follows Karen, a young mother on an excursion with her infant daughter, and delves into the past as well as her present-day responsibilities. In another tale, Karen, here a writer, struggles to finish an article in the wake of a breakup. Kleeman thoroughly owns her material, and her inventive collection offers a prodigious exploration into distinctive realms.(Reprinted with permission of Booklist, copyright 2016, American Library Association.)

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From the celebrated author of You Too Can Have a Body Like Mine,a thought-provoking, often unsettling story collection that consists, broadly, of narrative diagrams of the three main stages in a human life: birth, life, and death.

Alexandra Kleeman's debut novel You Too Can Have a Body Like Mine earned her comparisons to Thomas Pynchon, Don DeLillo, Ben Marcus, and Tom Perrotta. It was praised by the New York Times as ""a powerful allegory of our civilization's many maladies, artfully and elegantly articulated, by one of the young wise women of our generation.""

In her second book, a collection of twelve stories irresistibly seductive in their strangeness, she explores human life from beginning to end: the distress of birth into a world already formed; the brief and confusing period of ""living"" where we understand what is expected of us and struggle to do it; and the death-y period toward the end where we sense it is ending and will end only partially understood,...

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