Last week, I said that “Carried Away” feels like a quintessential Munro story to me.
Its southwestern Ontario setting.
The matters of class.
An up-close examination of a blatant tragedy.
Some far-away ruminating on trauma of a quieter sort.
A woman looking back on a life more-than-half passed.
“A Real Life” contains most of these elements as well.
Although the closest thing to a blatant tragedy would be Delilah’s death (or the trapping and skinning of various small four-footed creatures at Dorrie’s hand), but there is no blood in the telling of it.
Delilah, however, illuminates another facet of Alice Munro’s storytelling, which is evident in both of these stories in Open Secrets.
“Delilah was the dog responsible. She was black, part Labrador. She chased cars, and eventually this was how she was going to get herself killed.”
That last phrase is the sort that makes the hearts of English grammar teachers beat faster: Delilah “was going to get herself killed”.
The verb tense is complicated; the past, in Alice Munro’s stories is multilayered.
One character is looking back at another character who loves her dog (more than it might seem to a casual onlooker) while it is living and breathing, and that same character will, at another point in time, have to cope with that dog’s death, a loss still firmly in the past in relationship to the events referred to in the story’s opening sentence.
“A man came along and fell in love with Dorrie Beck.” He came along. He fell. And, yes, we learn that he wanted to marry her. All that happened before “A Real Life” is told.
The community is drawn in such detail, that a dozen pages into the story, readers might have forgotten just who was marrying whom, or even that there was a wedding on the horizon.
The telling is mostly Millicent’s, in close third-person, but Dorrie is not the only subject. Her description, however, is the first that readers receive. (Hang on for the last sentence: it’s superb.)
“She was a big, firm woman with heavy legs, chestnut-brown hair, a broad bashful face, and dark freckles like dots of velvet. A man in the area had named a horse after her.”
Perhaps the physical details are sufficient; with Millicent’s legs and hair, her face and freckles, described, she takes shape for readers. But the final sentence, taken apart from the details, manages to convey manner and physicality.
In the following description, the subject is vividly sketched, yes, but just as vivid is Muriel’s manner and behaviour. Readers can easily imagine her, perched and preening (well, conversationally speaking, at least).
“The visitor who rose to be introduced was tall and thin and sallow, with a face that seemed to hang in pleats, precise and melancholy. Muriel did not give way to disappointments. She sat down beside him and tried in a spirited way to get him into conversation.”
That man who came along? The man from the first sentence? There he is: the visitor who rose to be introduced, the stranger who came to town and had supper on the verandah.
And, just as his arrival precipitates change, so does his leaving. Millicent has no knowledge of the gap between his arrival and the announcement of his impending marriage to Dorrie. She wonders where Dorrie has seen him in the interim?
“Nowhere. He had gone off to Australia, where he had property. Letters had gone back and forth between them.”
And, then, the announcement of the nuptials. Followed by cold feet.
“Dorrie, listen. All of this is for your own good. It may seem like I am pushing you out, Dorrie, but all it is is making you do what you are not quite up to doing on your own.”
What exactly does Millicent imagine she is encouraging Dorrie to undertake?
Millicent has an idea of what “real life” should be like, and she is seriously invested in Dorrie having that experience.
But the relationship between Millicent’s understanding of “real life” and the way in which Wilkie came along and fell in love with Dorrie?
It’s possible there are as many misunderstandings and disappointments therein, as there are in Louisa’s experiences in “Carried Away”.
As is often the case, the guts of this story reside in the in-between, in that space where expectations and “real life” collide.
Have you read this story? Do you have a favourite Munro collection or story?
Note: This is part of a series of posts on Alice Munro’s stories, as I read through her work-to-date. She is one of my MRE authors and this is the second story in Open Secrets. Please feel free to check the schedule and join in, for the series, or for a single story; I would love the company.
Alice Munro’s Open Secrets stories caught me and whirled me in a dizzy spin. I was lucky to find them on audio book, convincingly read by Jackie Burroughs.
A Real Life reveals how we are taken by social expectations out of who we are, and who we want to be, who other people think we are and ought to be.
It could make one cry from painful realization.
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I’ve been debating which collection by Alice Munro I should read next, and I’m starting to lean towards this one. Progress of Love and View from Castle Rock have been calling me, but this collection already has one short story I loved (Carried Away) and the next one also seems to not to disappoint the reader. Not to mention the current short story collection I’m reading just isn’t doing anything for me. Perhaps I just need some Alice Munro. Now to decide which collection to read next…
I bet you’d enjoy the connectedness (relatively speaking) of View from Castle Rock (if I remember correctly), and the historical storylines, but this is one of my favourite collections for sure, and it’s always nice to have company in reading, so it would be nice if you did pull this one off the shelf just now.
Well then I shall join you in the reading of this collection. Company is always great during reading books. 🙂
If I’m right, I have only read one of her short stories in the Best American Short Stories 2004. You bring out certain elements of a person’s write that I’d never have thought off. I think in general terms of the writing and narrative style. But you do a detail job here. Thanks for sharing.
Ah! That was “Runaway”; that’s one of my other favourite collections of hers, and I think I can remember the specific story as well. It sounds like you read the Best American Stories collections reliably and completely, or was it just that one year which stood out for you? I’ve never cultivated that habit, but I have often thought it would be a good one.
I am becoming a follower of first sentences! Sometimes second sentences are also of considerable interest. With Munro it can be a challenge to try and deduce where she is actually going to go with those first two sentences. With hindsight it is easy to see but it is fun to examine all the other directions in which she might have taken the reader. The three women in this story are equally interesting: I imagine them as one person and think about what the story could be under those circumstances. I liked this description of Muriel’s social life: “It wasn’t true that she never found a man. She found one fairly often but hardly ever one that she could bring to supper.” And the phrase summarizing alcohol use in the country: “drinking in the barn, abstinence in the house”. And how about Dorrie’s excuse for being late to a supper party: “she had to shoot a feral cat”! Beats all those old excuses for not bringing your homework to school. There is so much fun in this piece but also much to think about like when Millicent tells Dorrie that marriage will give her “a real life” and Dorrie replies “I have a life.” I found myself wondering who had the “real life”? “Who wanted the “real life”? Does marriage allow for a “real life” or not? Do I have a “real life”? This story brought me joy and much to ponder.
Exactly. The feeling about this first sentence reminded me of “Pictures of the Ice” in Friend of my Youth, in which the first sentence broadcasts loudly, but I was so distracted by the backstory that I forgot where everything was headed as I read along; in “A Real Life”, I knew the forecast outcome, but there were so many other aspects of the story which were playing out, I had to flip back to see if that’s what, in fact, I had read.
Yes, indeed. What is ‘real’ in that context? It feels as though Millicent is the character who longs for ‘real’, as though she is pushing Dorrie into her own understanding of ‘real’ (or imagining, rather than understanding?). My personal sense is that Dorrie is as ‘real’ as it gets, living an authentic life, but that her own self-determination stands in stark contrast to the feminine expectations that Millicent has absorbed.
Don’t you wish there was a follow-up story for these characters?