Synopsis
He eases out of the sheets, and sits on the side of the bed. In the dim, his bare chest shines and his boxer shorts blink the whitest white. Neither of us used to sleep through 'til morning. We would take naps together, at this time of night. We would wake up and play around, put on music, drink, go back to sleep, awaken. We'd have whiskey in tea, and sweet potato muffins. Hit channel thirty,'' he tells me now. Outside the room are powdery-white hallways, arched doors, a carved staircase. It would seem an enormous, lovely house where you could sit in an alcove on a bench and read, but it isn't. I turn down the TV volume and switch around in my seat. ''O.K., this is thirty. What are we tuning in?'' ''Like you're staying,'' he says. There is work waiting for me, true. Work that'll keep me busy tonight, some of tomorrow. Work, though, that I would rather not go and do. Longing and resentment. Some of both in the way my husband is stamping his cigarette.
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Review
Robison’s minimalism is more like a slap in the face: it’s short, it stings, and you wonder who in tarnation did that to you . . . One D.O.A., One on the Way has all the razored style and zigzag tone one expects, but also a new connection to a bigger world, in which all of our circumstances are as desperate and hilarious as her characters’ . . . Mary Robison’s work has always felt like a glorious amenity, but One D.O.A., One on the Way is a powerful necessity.” The New York Times
Robison could work for a food or drug packager: she squeezes dire warnings into tiny spaces . . . [One D.O.A., One on the Way] can be read in half an afternoon, leaving plenty of room for afterthoughts about Robison’s funny and heartbreaking conversations.” The New Yorker
Mary Robison is a woman of few words. But what powerful words they are . . . Pushcart Prize and O. Henry Award-winner Robison’s searing novella is rendered in edgy vignettes . . . Robison is a master at delivering dark scenarios with mordant wit. One D.O.A., One on the Way is an impressive addition to her ouvre, by turns horrifying, comic, shocking, and wise.” The San Diego Union-Tribune
Robison’s spare, hilarious dialogue and collection of fragmented images, moments and excerpts call on readers to fill in blanks and to organize what looks at first glance like chaos glimpsed from a moving car . . . a vivid, witty ride.” Kirkus Reviews
Robison eloquently reveals the dissolution of a family . . . The southern novel’s bread and butter are rich descriptions, thick as humidity and Spanish moss.” Booklist
With a laconic voice and a despairing sense of humor, film location scout Eve Broussard narrates award-winning Robison’s grim yet witty novella about the dissoulution of a family and a city in the wake of Hurricane Katrina . . . Robison’s narrative is jumpy but effective, interspersed with and informed by startling statistics.” Publishers Weekly
About the Author
Mary Robison is the recipient of a Guggenheim Fellowship, two Pushcart Prizes, an O. Henry Award, and the Los Angeles Times Book Prize for Fiction. She is the author of three previous novels, Oh! (1981), Subtraction (1991), and Why Did I Ever (2001), and of four story collections, Days (1979), An Amateur's Guide to the Night (1983), Believe Them (1988), and Tell Me (2002). Robison has written for Hollywood and has been a contributor to the New Yorker since 1977.
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