Good Trouble

Stories

Author Joseph O'Neill On Tour
Read by Various
$15.00 US
Audio | Random House Audio
On sale Jun 12, 2018 | 5 Hours and 8 Minutes | 9780525634218
Sales rights: US, Canada, Open Mkt
A masterly collection of eleven stories about the way we live now from the best-selling author of Netherland.

From bourgeois facial-hair trends to parental sleep deprivation, Joseph O’Neill closely observes the mores of his characters, whose vacillations and second thoughts expose the mysterious pettiness, underlying violence, and, sometimes, surprising beauty of ordi­nary life in the early twenty-first century. A lonely wedding guest talks to a goose; two poets struggle over whether to participate in a “pardon Edward Snowden” verse petition; a cowardly husband lets his wife face a possible intruder in their home; a potential co-op renter in New York City can’t find anyone to give him a character reference.
 
On the surface, these men and women may be in only mild trouble, but in these perfectly made, fiercely modern stories O’Neill reminds us of the real, secretly political consequences of our internal monologues. No writer is more incisive about the strange world we live in now; the laugh-out-loud vulnerability of his people is also fodder for tears.


Cast of Narrators:
"Pardon Edward Snowden" read by Robbie Daymond
"The Trusted Traveler" read by Arthur Morey
"The World of Cheese" read by Kimberly Farr
"The Referees" read by Mike Chamberlain
"Promises, Promises" read by Allyson Ryan
"The Death of Billy Joel" read by Mark Deakins
"Ponchos" read by Mark Bramhall 
"The Poltroon Husband" read by John H. Meyer 
"Goose" read by Mike Chamberlain
"The Mustache in 2010" read by Cassandra Campbell 
"The Sinking of the Houston" read by Danny Campbell
The Sinking of the Houston
 
 
When I became a parent of young children I also became a purposeful and relentless opportunist of sleep. In fact sleep functioned as that period’s subtle denominator. I found myself capable of taking a nap just about any­where, even when standing in a subway car or riding an escalator. I wasn’t the only one. Out and about, I spot­ted drowsy or dozing people everywhere; and I realized that a kind of mechanized mass somnambulism is an essential component of modern life; and I gained a better understanding of the siesta and the snooze and the death wish.
 
Then my three boys grew big—grew from toddling alarmists into wayward urban doofuses neurologically unequipped to perceive the risks incidental to their teen­age lives. Several nights a week I lie awake in bed until the front door has sighed shut behind every last one of them. Even then, even once they’re all safely home, there are disquieting goings-on. Objects are put in motion, to frightening sonic effect. A creaking cupboard hinge is an SOS. A spoon in a cereal bowl is a tocsin.
 
The key point is that I no longer have the ability to nap at will—to recover, in nickels of unconsciousness, a lost hypnotic legacy. A round-the-clock jitteriness prevails.
 
As a consequence, the concept of peace and quiet has assumed an italicized personal importance. Who can say, of course, what “peace and quiet” means? It certainly doesn’t denote the experience produced by being by one­self. I can offer only a subjective definition: the state of affairs in which (1) one finds oneself at home; (2) there are people around whom one wants to have around, not least because it means that one doesn’t have to worry about where else they might be; (3) one sits in one’s arm­chair; and (4) the people around leave one alone.
 
The phenomenon of the Dad Chair needs no inves­tigation here. I’ll just state that there came a moment when the whole business of taking care of the guys—of their need to be woken up, clothed, fed, transported, coached, cleaned, bedded down, constantly kept safe and constantly captained—altered me. The alteration made me identify with the shipman, working in high and howling winds in the Bay of Biscay, who dreams of the bathtubs of La Rochelle. This led me to buy a black leatherette armchair and to designate it as my haven. I’ve got to say, it has worked out pretty well.
 
But of late, the fifteen-year-old, the middle son, has taken to disturbing me. I’ll be sitting there, doing stuff on my laptop, when he’ll approach and pull off my noise-canceling headphones.
 
“What is it?” I ask him.
 
“Have you heard of the Duvaliers?”
 
“What?”
 
“The Duvaliers. The dictators of Haiti.”
 
“What about them?”
 
“There’s two Duvaliers,” he says. “There’s the father and there’s the son. Do you know that they used rape to punish their political opponents?”
 
“What?”
 
He says, “They—”
 
“I don’t want to hear about it. I know all about the Duvaliers. They were horrible. I know all about it.”
 
“But, Dad, I’ll bet you don’t know. There was one time—”
 
“Stop harassing me!” I shout. “Stop bothering me with this stuff! Leave me alone! I lived through it! I don’t want to discuss it!”
 
He answers, in his mild way, “You didn’t exactly live through it. You just heard about it.”
 
I understand that my son is trying to get a precise sense of the world he is about to enter—the wide world. I understand that this can be a difficult process. I under­stand that it’s a good thing that he comes to me with these questions, which do him nothing but credit, and that these are golden moments that must be savored. I understand all that.
 
Note that my fifteen-year-old is a distinct case but not a special one. His two brothers are the same. Each, in his own way, threatens the peace and the quiet.
 
“Where is East Timor?” this particular son asks.
 
“Look it up,” I say.
 
His voice has arrived from his bedroom, where he’s lying in his bunk bed, in a T-shirt and tracksuit bottoms and skateboarding socks, reading his phone. Sometimes he’ll come out of the bedroom and sit on the arm of my armchair and cast an eye over my screen while he talks. Which is exasperating. What I do online is my business.
 
He calls out, “Do you know who Charles Taylor is?”
 
I’m not answering that.
 
He comes out of the brothers’ room, which is what we call the space in which the three boys are cooped up. “He was a guerilla leader. In Liberia. He had an army made up of children.”
 
“Stop right there,” I say.
 
My son stops where he is, because he thinks I’m tell­ing him that he should stop advancing toward me. From a distance of about three yards he says, “He made the children do some really bad things. Really, really bad things. He made them shoot their own parents. I think Taylor may have been the worst of them all.”
 
I remove my reading glasses and look him in the eye. “C’est la vie,” I tell him.
“O’Neill writes with an urgent timeliness, as if these stories were written yesterday, with the politics and news you might have shared with your friends this very morning. The thrill of seeing the here and now transmuted into morally serious and comically rich prose is heightened once you realize its rarity.” —Ryan Chapman, Guernica

“An essential book, full of unexpected bursts of meaning and beauty . . . Compelling . . . Funny and fierce . . . [O’Neill] wields an acerbic blade, rendering the weird and violent with a determined frugality and control . . . The eleven stories in Good Trouble read like a string of understated poems that progress, implode, and digress.” —Feroz Rather, Ploughshares

“A chewy collection of stories, often elegant, often challenging, and always entertaining. . . . A pleasure of reading this collection is watching a skilled writer at work using fine-tuned language to pinpoint states of mind and feeling.” —Claire Hopley, The Washington Times

“If the decentering of white men has met with intensifying pushback since the 2016 US election, then conventional masculinity needs shrewd anatomists like Joseph O’Neill more than ever before.” —Benjamin Evans, The Guardian

“The characters are subtly crafted, nuanced in their observations of others, and understated. . . . Instead of thwacking the reader over the head with a trumped-up lesson of ‘count your blessings,’ [O’Neill] quietly leads us toward a reflection of ourselves that, perhaps, makes us just a bit more appreciative of all the ‘good trouble’ we have.” —Colleen M. Geiger, Pittsburgh Post-Gazette

“[A] fine collection . . . Many of the stories take surprisingly unexpected turns, [as] O’Neill confronts the lure of despair.” —Michael Magras, Houston Chronicle

“The angst of modern life pervades the daily lives of the characters in these stories from the author of Netherland, whose subversive humor finds new angles on everything from facial hair to circumcision.” Time

“A thoroughly enjoyable collection . . . O’Neill treats his characters with a wry sympathy and a sense of fun, [probing] the frictions that make marriages and families fissure or fight for survival, the situations where discomfort breeds anxiety and resentment mushrooms into malaise.” Kirkus Reviews (starred review)

“Beautifully crafted short stories . . . O’Neill’s tales often echo [David Foster] Wallace’s mixture of humor and profundity, demonstrating a similar, almost preternatural eye for the absurdities of contemporary life.” —Alexander Moran, Booklist

“Absorbing . . . In his typically sharp, smart language, [O’Neill] shows us characters undone by contemporary life, not grandly but in the small, essential ways that define our culture.” Library Journal

About

A masterly collection of eleven stories about the way we live now from the best-selling author of Netherland.

From bourgeois facial-hair trends to parental sleep deprivation, Joseph O’Neill closely observes the mores of his characters, whose vacillations and second thoughts expose the mysterious pettiness, underlying violence, and, sometimes, surprising beauty of ordi­nary life in the early twenty-first century. A lonely wedding guest talks to a goose; two poets struggle over whether to participate in a “pardon Edward Snowden” verse petition; a cowardly husband lets his wife face a possible intruder in their home; a potential co-op renter in New York City can’t find anyone to give him a character reference.
 
On the surface, these men and women may be in only mild trouble, but in these perfectly made, fiercely modern stories O’Neill reminds us of the real, secretly political consequences of our internal monologues. No writer is more incisive about the strange world we live in now; the laugh-out-loud vulnerability of his people is also fodder for tears.


Cast of Narrators:
"Pardon Edward Snowden" read by Robbie Daymond
"The Trusted Traveler" read by Arthur Morey
"The World of Cheese" read by Kimberly Farr
"The Referees" read by Mike Chamberlain
"Promises, Promises" read by Allyson Ryan
"The Death of Billy Joel" read by Mark Deakins
"Ponchos" read by Mark Bramhall 
"The Poltroon Husband" read by John H. Meyer 
"Goose" read by Mike Chamberlain
"The Mustache in 2010" read by Cassandra Campbell 
"The Sinking of the Houston" read by Danny Campbell

Excerpt

The Sinking of the Houston
 
 
When I became a parent of young children I also became a purposeful and relentless opportunist of sleep. In fact sleep functioned as that period’s subtle denominator. I found myself capable of taking a nap just about any­where, even when standing in a subway car or riding an escalator. I wasn’t the only one. Out and about, I spot­ted drowsy or dozing people everywhere; and I realized that a kind of mechanized mass somnambulism is an essential component of modern life; and I gained a better understanding of the siesta and the snooze and the death wish.
 
Then my three boys grew big—grew from toddling alarmists into wayward urban doofuses neurologically unequipped to perceive the risks incidental to their teen­age lives. Several nights a week I lie awake in bed until the front door has sighed shut behind every last one of them. Even then, even once they’re all safely home, there are disquieting goings-on. Objects are put in motion, to frightening sonic effect. A creaking cupboard hinge is an SOS. A spoon in a cereal bowl is a tocsin.
 
The key point is that I no longer have the ability to nap at will—to recover, in nickels of unconsciousness, a lost hypnotic legacy. A round-the-clock jitteriness prevails.
 
As a consequence, the concept of peace and quiet has assumed an italicized personal importance. Who can say, of course, what “peace and quiet” means? It certainly doesn’t denote the experience produced by being by one­self. I can offer only a subjective definition: the state of affairs in which (1) one finds oneself at home; (2) there are people around whom one wants to have around, not least because it means that one doesn’t have to worry about where else they might be; (3) one sits in one’s arm­chair; and (4) the people around leave one alone.
 
The phenomenon of the Dad Chair needs no inves­tigation here. I’ll just state that there came a moment when the whole business of taking care of the guys—of their need to be woken up, clothed, fed, transported, coached, cleaned, bedded down, constantly kept safe and constantly captained—altered me. The alteration made me identify with the shipman, working in high and howling winds in the Bay of Biscay, who dreams of the bathtubs of La Rochelle. This led me to buy a black leatherette armchair and to designate it as my haven. I’ve got to say, it has worked out pretty well.
 
But of late, the fifteen-year-old, the middle son, has taken to disturbing me. I’ll be sitting there, doing stuff on my laptop, when he’ll approach and pull off my noise-canceling headphones.
 
“What is it?” I ask him.
 
“Have you heard of the Duvaliers?”
 
“What?”
 
“The Duvaliers. The dictators of Haiti.”
 
“What about them?”
 
“There’s two Duvaliers,” he says. “There’s the father and there’s the son. Do you know that they used rape to punish their political opponents?”
 
“What?”
 
He says, “They—”
 
“I don’t want to hear about it. I know all about the Duvaliers. They were horrible. I know all about it.”
 
“But, Dad, I’ll bet you don’t know. There was one time—”
 
“Stop harassing me!” I shout. “Stop bothering me with this stuff! Leave me alone! I lived through it! I don’t want to discuss it!”
 
He answers, in his mild way, “You didn’t exactly live through it. You just heard about it.”
 
I understand that my son is trying to get a precise sense of the world he is about to enter—the wide world. I understand that this can be a difficult process. I under­stand that it’s a good thing that he comes to me with these questions, which do him nothing but credit, and that these are golden moments that must be savored. I understand all that.
 
Note that my fifteen-year-old is a distinct case but not a special one. His two brothers are the same. Each, in his own way, threatens the peace and the quiet.
 
“Where is East Timor?” this particular son asks.
 
“Look it up,” I say.
 
His voice has arrived from his bedroom, where he’s lying in his bunk bed, in a T-shirt and tracksuit bottoms and skateboarding socks, reading his phone. Sometimes he’ll come out of the bedroom and sit on the arm of my armchair and cast an eye over my screen while he talks. Which is exasperating. What I do online is my business.
 
He calls out, “Do you know who Charles Taylor is?”
 
I’m not answering that.
 
He comes out of the brothers’ room, which is what we call the space in which the three boys are cooped up. “He was a guerilla leader. In Liberia. He had an army made up of children.”
 
“Stop right there,” I say.
 
My son stops where he is, because he thinks I’m tell­ing him that he should stop advancing toward me. From a distance of about three yards he says, “He made the children do some really bad things. Really, really bad things. He made them shoot their own parents. I think Taylor may have been the worst of them all.”
 
I remove my reading glasses and look him in the eye. “C’est la vie,” I tell him.

Praise

“O’Neill writes with an urgent timeliness, as if these stories were written yesterday, with the politics and news you might have shared with your friends this very morning. The thrill of seeing the here and now transmuted into morally serious and comically rich prose is heightened once you realize its rarity.” —Ryan Chapman, Guernica

“An essential book, full of unexpected bursts of meaning and beauty . . . Compelling . . . Funny and fierce . . . [O’Neill] wields an acerbic blade, rendering the weird and violent with a determined frugality and control . . . The eleven stories in Good Trouble read like a string of understated poems that progress, implode, and digress.” —Feroz Rather, Ploughshares

“A chewy collection of stories, often elegant, often challenging, and always entertaining. . . . A pleasure of reading this collection is watching a skilled writer at work using fine-tuned language to pinpoint states of mind and feeling.” —Claire Hopley, The Washington Times

“If the decentering of white men has met with intensifying pushback since the 2016 US election, then conventional masculinity needs shrewd anatomists like Joseph O’Neill more than ever before.” —Benjamin Evans, The Guardian

“The characters are subtly crafted, nuanced in their observations of others, and understated. . . . Instead of thwacking the reader over the head with a trumped-up lesson of ‘count your blessings,’ [O’Neill] quietly leads us toward a reflection of ourselves that, perhaps, makes us just a bit more appreciative of all the ‘good trouble’ we have.” —Colleen M. Geiger, Pittsburgh Post-Gazette

“[A] fine collection . . . Many of the stories take surprisingly unexpected turns, [as] O’Neill confronts the lure of despair.” —Michael Magras, Houston Chronicle

“The angst of modern life pervades the daily lives of the characters in these stories from the author of Netherland, whose subversive humor finds new angles on everything from facial hair to circumcision.” Time

“A thoroughly enjoyable collection . . . O’Neill treats his characters with a wry sympathy and a sense of fun, [probing] the frictions that make marriages and families fissure or fight for survival, the situations where discomfort breeds anxiety and resentment mushrooms into malaise.” Kirkus Reviews (starred review)

“Beautifully crafted short stories . . . O’Neill’s tales often echo [David Foster] Wallace’s mixture of humor and profundity, demonstrating a similar, almost preternatural eye for the absurdities of contemporary life.” —Alexander Moran, Booklist

“Absorbing . . . In his typically sharp, smart language, [O’Neill] shows us characters undone by contemporary life, not grandly but in the small, essential ways that define our culture.” Library Journal