Word: two
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Dates: during 1980-1989
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...familiar terrain -- the bone-dry wit, terse dialogue, lyrical descriptions of nature and hovering suggestion of violence are pure McGuane. But the measured tone and relatively upbeat ending of the book are a far cry from the pyrotechnical flash of his earlier works like The Bushwacked Piano or Ninety-Two in the Shade. Not all McGuane fans have stayed for the ride. "There are readers who abandoned me over the feeling that my writing has become relatively lusterless," he observes. "But your literary style is kind of like your face -- you can't do much to change it. I just...
...says. "I had prepared myself for no other career. What was I to do? Start selling lighting fixtures and hope to rise in the corporation?" Instead, he wrote The Sporting Club, an apocalyptic satire of an exclusive Michigan hunt club, which was published in 1969 to rave reviews. Two years later came The Bushwacked Piano, a biting social broadside about a scheme to sell towers stocked with insect-eating bats to the gullible public. In 1973 McGuane upped the ante with Ninety-Two in the Shade, a dazzling novel of free- floating angst and male brinkmanship set in the Florida...
...think that in order to write you also have to be partly crazy. And later on it occurs to us that we're going to die unless we behave." Realizing that "my streak of self- destructiveness had to end," McGuane quit drinking and poured himself into writing. Two novels -- Nobody's Angel (1982) and Something to Be Desired (1985) -- were followed by To Skin a Cat (1986), a well-received collection of short stories that helped put McGuane back on the literary track...
...work" a cow in much the same way a defensive guard tries to block a basketball, is a dear topic for the McGuanes. They also happen to be formidably good at it. Laurie is Montana's defending cutting- horse champion, Tom was No. 1 the year before, and the two are the leading contenders for the 1989 trophy. "We take turns," Laurie laughs...
...ballad throbs to a climax, the two singers look at each other in a confession of mutual need, and the title line of mock-bragging devotion, You're Nothing Without Me, reverberates from the rafters. All in all, a classic first-act finale -- except that in this musical the characters who vow undying fidelity are a nerdy novelist turned screenwriter and the hard-boiled detective he has created on page and celluloid...