her beautiful, relentless, evocative prose echoes that of James Salter. Other writers she shares at least a little DNA with include Grace Paley and Barry Hannah.
When writing in this mode, Berlin is at her closest to Raymond Carver. Literary Review The tone, worldly wise and somewhat regretful, is a sort of hardboiled domestic. Jackie Kay Observer writing really soars. They hit you with a force the moment you happen upon them. New York Times Book Review stories are peopled with sharp, unpredictable, vital characters (often drunk!). Now readers have another chance to confront them: bits of life, chewed up and spat out like a wad of tobacco, bitter and rich. Berlin's stories are full of second chances. But why would you make me do that, darlin'?.
You will listen to me if I have to force you, her stories growl. Lucia Berlin spins you around, knocks you down and grinds your face into the dirt. Sarah Churchwell, 'Best Books of 2015' Guardian Some short story writers - Chekhov, Alice Munro, William Trevor - sidle up and tap you gently on the shoulder: Come, they murmur, sit down, listen to what I have to say. But only Carver's very final stories share Berlin's eye for the sud-den exaltation in ordinary lives, or her ability to shift the tone of an entire story with an unexpected sent-ence. Her work is being comp-ared to Raymond Carver, for her similar oblique, colloquial style her mordant humour the recurrence of alcoholics and her interest in the lives of working-class or marginalised people. New York Times Lucia Berlin's collection of short stories, A Manual for Cleaning Women, deserves all of the posthumous praise its author has received. John Self Independent In A Manual for Cleaning Women we witness the emergence of an important American writer, one who was mostly overlooked in her time.
should by all rights see her as lauded as Jean Rhys or Raymond Carver.
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