Motion Sickness (9 page)

For more on how to participate in the
Red Lemonade
publishing community, including the opportunity to share your thoughts about this book, read what others have to say about it, and share your own manuscripts with fellow writers, readers, and the Red Lemonade editors, go to the Red Lemonade
website
.

Also, we want you to know that these sites aren’t just for you to find out more about what we do, they’re places where you can tell us what you do, what you want, and to tell us how we can help you. Only then can we really have a publishing community be greater than the sum of its parts.

All the best,
Richard Nash

This book was originally published by Poseidon, a Simon & Schuster imprint, in 1991. It was edited by Ann Patty.

It was published in the UK also in 1991 by Serpent’s Tail, where Pete Ayrton was the publisher.

Jeffrey Yozwiak, Cursor’s first intern, scanned it from the Serpent’s Tail edition and hand-coded it to an ePub file.

Lisa Duggan, Daniel Schwartz, and Richard Nash proofread it.

India Amos performed technical quality control.

If you enjoyed
Motion Sickness
, may we recommend other books by Lynne Tillman?

In uncompromising and fresh prose, Tillman tells the story of three very contemporary girls. Grace, Emily and Jane collide with friends, family, and culture under dark and comic circumstances, presented in uncanny, disturbing, and sometimes shocking terms. In
Haunted Houses
, Tillman writes of the past within the present, and of the inescapability of private memory and public history. A caustic account of how America makes and unmakes a young woman.

“In
Haunted Houses
, Lynne Tillman chronicles the loneliness of childhood and incipient womanhood, the salvation of friendship, and the neurotic chain that binds perpetually needy daughters to their perpetually self-absorbed parents… Her style is spare and compelling, the effect of clinical authenticity.”

—
New York Times Book Review

“Ms. Tillman’s characters are rigorously drawn, with a scrupulous regard for the truth of their inner lives… this is one of the most interesting works of fiction in recent times… Fans of both truth and fancy should find nourishment here.”

—
LA Weekly

“Lynne Tillman’s protagonists are so lifelike, engaging and accessible, one could overlook, though hardly remain unaffected by, the quality of her prose, with its unique balancing of character interrogation and headlong entertainment. Haunted Houses achieves that hardest of things: a fresh involvement of overheard life with the charisma of intelligent fiction. Its pleasures pull their weight.”

—
Dennis Cooper

“This complex and skillfully constructed novel has three separate storylines following the lives of three girls growing up in New York, maturing in a world of baffling freedoms and uncertainties… Childhood fears, passionate friendships, sexual explorations, and the uncomfortable interdependency of parents and children are depicted with intelligence, honesty, and dark humor. But if you are looking for comfort and consolation, you must look elsewhere: Tillman writes about life as it is, not as we might wish it to be.”

—
Times
(UK)

“Lynne Tillman’s writing uncovers hidden truths, reveals the unnamable, and leads us into her personal world of pain, pleasure, laughter, fear and confusion, with a clarity of style that is both remarkable and exhilarating. Honest. Simple. Deep. Authentic. Daring… To read her is, in a sense, to become alive, because she lives so thoroughly in her work. Lynne Tillman is, quite simply, one of the best writers alive today.”

—
John Zorn

“Lynne Tillman’s haunted houses are Freudian ones—the psyches of three girls, Emily, Jane, and Grace, each wrestling with the psychological ‘ghosts’ that shape them… Frequently shifting points of view are expressed in crisp sentences. Rather than forming a modernist stream of consciousness, however, the writing remains controlled.”

—
Lucy Atkins
,
Times Literary Supplement

While the tumultuous 1970s rock the world around them, a collection of aging expatriates linger in a quiet town on the island of Crete, where they have escaped their pasts and their present. Among them is Horace, a gay American writer who fears he has finally reached old age. Friends only frustrate him, and his youthful Greek lover provides little satisfaction. Idling his time away with alcohol and working on a novel that he will never finish, Horace feels closer than ever to his own sorry end.

That is, until a young, enigmatic American woman named Helen joins his crowd of outsiders. In Helen, Horace discovers someone brilliant, beautiful, and stubbornly mysterious—in short, she becomes his absolute obsession.

But as Horace knows, people have a way of preserving their secrets even as they try to forget them. Soon, Helen’s past begins to follow her to Crete. A suicidal ex-lover appears without warning; whispers of her long-dead sister surface in local gossip; and signs of ancient Gypsy rituals come to the fore. Helen vanishes. Deep down, Horace knows that he must find her before he can find any peace within himself.

“Clever, witty, passionately written… Lynne Tillman writes with such elan, such spirited delight and comic intelligence that it is difficult to take anything but pleasure…”

—
Douglas Glover
,
Washington Post Book World

“With
Cast in Doubt
, Lynne Tillman achieves several different kinds of miracles. She moves into the skin of a sixtyish male homosexual novelist so effortlessly that the reader immediately loses sight of the illusion and accepts the narrator as a real person. Alongside the narrator we move into the gossipy, enclosed world of English and American artists and madmen living in Crete, and at every step, as the play of consciousness suggests, alerts, and alters, are made aware of a terrible chaos that seems only just out of sight. But what impresses me most about
Cast in Doubt
is the great and powerful subtlety with which it peers out of itself—Tillman’s intelligence and sophistication have led her toward a quality I can only call grace. Like Stein, Ashbery, and James, this book could be read over and over, each time with deepening delight and appreciation.”

—
Peter Straub

“Tingly, crisp, and wry… Delightfully clever and probing.”

—
Donna Seaman
,
Booklist

“Tillman's evocation of Horace and his life among ruins both geographic and aesthetic is a tour de force.
Cast in Doubt
recasts every genre it touches—the expatriate novel, the mystery, the novel of ideas—like a multiply haunted house of both form and identity.”

—
Voice Literary Supplement
, Best Books of 1992

“If you can keep up with him, Horace will take you all kinds of places… I was unwilling to close the cover and break the spell. I turned the book over and started over again.”

—
Boston Phoenix

“A private eye in the public sphere, [Tillman] refuses no assignment and distils the finest wit, intelligence and hard evidence from some of the world’s most transient artifacts and allegories. This is a truly memorable book.”

—
Andrew Ross

The New York of Lynne Tillman’s hilarious, audacious fourth novel is a boiling point of urban decay.

The East Village streets are overrun with crooked cops, drug addicts, pimps and prostitutes. Garbage piles up along the sidewalks amid the blaring soundtrack of car stereos. Confrontations are supercharged by the summer heat wave. This merciless noise has left Elizabeth Hall an insomniac. Junkies roam her building and overturn trashcans, but the mean-spirited landlord refuses to help clean or repair the decrepit conditions. Live-in boyfriend Roy is good-natured but too avoidant to soothe the sores of city life.

Though Elizabeth fights on for normalcy and sanity in this apathetic metropolis, violent fantasies threaten to push her over the edge. In vivid detail, she begins to imagine murders: those of the “morons” she despises, and, most obsessively, her own.

Frightening, hilarious, and wholly addictive,
No Lease on Life
is an avant-garde sucker-punch, a plea for humanity propelled by dark wit and unflinching honesty. Tillman’s spare prose, frank, poignant and always illuminating, captures all the raving absurdity of a very bad day in America’s toughest, hottest melting pot.

“Confirms and enhances her reputation as one of America’s most challenging and adventurous writers.”

—
Guardian

“…should be awarded a special Pulitzer for the most perfect use of the word ‘moron’ in the history of the American novel.”

—
Fran Lebowitz

“A book anyone concerned with urban life, women, or American culture, as it stumbles into the 21st century, must read.”

—
Sapphire

“Exquisite… To encounter a writer of Tillman’s acute intelligence writing as well as this is a cause for real celebration.”

—
Independent
(UK)

“Tillman describes much of the wearing, wearying routine of the city’s daily life—all that garbage, all those druggies and creeps and whores we’ve met in a million Letterman one-liners jammed into a scrawny crevice of land while the rest of America's so huge and airy and free. But Tillman’s book is utopian precisely because it takes those things into account; because its heroine fantasizes about murdering all ‘the morons’ not out of hate, &'squo;but dignity and a social space, a civil space, actually civilian space.’…[Tillman] sprinkles the text with dozens and dozens of jokes… Who can't relate? Isn't every public-transportation-riding, rent-paying, law-abiding urban dweller about two or three knock-knock jokes away from homicide?”

—
Sarah Vowell
,
Salon

“Richly surreal…yet darkly humorous…Tillman demonstrates her wit, superb observational skill, realism of representation, and verbal eloquence…
No Lease on Life
is a meditation on the realness and the ridiculousness of daily living. Yet again, Tillman tackles issues on her terms, freshly reshaping traditional literary forms.”

—
Donna Seaman
,
Booklist

“We first meet Elizabeth sitting at the window of her East Village apartment at 5 a.m. spinning gruesome revenge fantasies about the noisy hoodlums in the street… this novel [is] graced by flashes of bilious wit, a series of funny, inconsequential jokes and an appealingly loopy milieu.”

—
Publishers Weekly

“As energetic and raunchy as a New York street.”

—
San Francisco Chronicle

“A terribly up-close and personal examination of urban angst and fury. It is also a funny, frightening, and utterly brilliant tour de force.”

—
Bay Area Reporter

“Darkly humorous… [the] New York that one doesn’t see on Seinfeld.”

—
Library Journal

“In a society that increasingly deals with the unbearable by cleaning ‘it’ up, by sweeping the streets and parks of the homeless and addicted, and/or stashing ‘it’ away (in ghettos, prisons, etc.), No Lease on Life provides a straight-on view and acknowledgment of the unbearable, if not an acceptance. What Elizabeth collects keeps her from sleeping, drives her to thoughts of murder, and yet ‘she [has] to be open…like a window…sometimes transparent, usually paradoxical, and always open to tragicomic views of life.’”

—
Elisabeth Sheffield
,
Review of Contemporary Fiction

The stories in
Someday This Will Be Funny
marry memory to moment in a union of narrative form as immaculate and imperfect as the characters damned to act them out on page. Lynne Tillman presides over the ceremony; Clarence Thomas, Marvin Gaye, and Madame Realism mingle at the reception. Narrators—by turn infamous and nameless—shift within their own skin, struggling to unknot reminiscence from reality while scenes rush into warm focus, then cool, twist, and snap in the breeze of shifting thought. Epistle, quotation, and haiku bounce between lyrical passages of lucid beauty, echoing the scattered, cycling arpeggio of Tillman’s preferred subject: the unsettled mind. Collectively, these stories own a conscience shaped by oaths made and broken; by the skeleton silence and secrets of family; by love’s shifting chartreuse. They traffic in the quiet images of personal history, each one a flickering sacrament in danger of being swallowed up by the lust and desperation of their possessor: a fistful of parking tickets shoved in the glove compartment, a little black book hidden from a wife in a safe-deposit box, a planter stuffed with flowers to keep out the cooing mourning doves. They are stories fashioned with candor and animated by fits of wordplay and invention—stories that affirm Tillman’s unshakable talent for wedding the patterns and rituals of thought with the blushing immediacy of existence, defying genre and defining experimental short fiction.