Published by HarperCollins/Ecco on May 12, 2020
Sorry for Your Trouble collects stories of loss, usually caused by death or divorce. Many of the characters have ties to Louisiana or Ireland, although Maine and Paris seem to be their preferred vacation destinations. They have generally reached (or at least are approaching) an age that permits sober reflection on mistakes made and reckonings to come.
My favorite entry in this nine-story collection, “Second Language,” is one of the longer ones. After his wife’s sudden death evicts him from his “infallible, magical, irreplaceable world,” a businessman moves from Idaho to New York and meets a divorced woman who feels her life is “composed of some strange, insubstantial paper that she couldn’t quite keep hold of.” They marry, but he depended on his first wife to invent the “workable, reliable mind-set” that made him feel married, and is disappointed that his second wife has a more independent view of partnership. His new wife, on the other hand, understands that her husband “believed in greater and greater closeness, of shared complications, of difficult-to-overcome frictions leading to even greater depths of intimacy and knowledge of each other,” while she simply isn’t that kind of person. Ford dissects the lives and philosophies of the two principal characters, their relationship and its aftermath, exposing hidden barriers to the kind of understanding (of life, ourselves, other people) that we expect or hope to achieve.
I also give high marks to “The Run of Yourself.” After the death of Peter Boyce’s Irish wife, Peter rents a summer house in Maine near the one he and his wife used to rent. He rents a different house — not the one in which his wife died — so he can revisit pleasant memories without being haunted by thoughts of the crusty person his wife became after she fell ill. A visit from his daughter only underscores the distance between them. He has come to realize that he only needs to make small adjustments in his life because, at his age, there is “nothing further to learn or imagine or re-invent.” Doing a favor for a troubled young woman might change his mind about that.
With two exceptions, I enjoyed all of the remaining stories, although to a slightly lesser extent. In “Nothing to Declare,” a relatively young Sandy “nonchalantly loved” Barbara when they traveled to Iceland together, but the emotion was fading by the time he left her there. “She was, he felt, pretentious and self-infatuated. Leaving was a fine idea. What he’d been missing was miss-able. In the stark light her face bore a coarseness he hadn’t noticed, but supposed he would come to dislike.” A couple of decades later, when Sandy kisses Barbara in New Orleans during a chance encounter, Sandy’s feelings are ambiguous, but it isn’t clear that either Sandy or Barbara have fundamentally changed.
The transplanted Irishman in “Happy” dies after living an intellectual’s life. Bobbi “Happy” Kamper, his “surviving paramour,” joins friends for end-of-summer cocktails in Maine, a gathering that represents “a reversion to some way of being that pre-dated everything that life had sadly become.”
In “Displaced,” a 16-year-old boy who lost his father hopes to bond with an older Irish boy, but the friendship only increases his confusion about life. A divorcing American in “Crossing” who encounters brash American tourists in Ireland before he visits with his solicitor wonders whether he would be pathetic if he were to let a tear leak out in remembrance of the past.
In “Jimmy Green — 1992,” the disgraced former mayor of a small Louisiana town winds up in Paris for no particular reason. He watches the results of the American election in an American bar with a French woman and, because of his slight preference for the winning candidate, learns that Americans abroad can be even more obnoxious than Americans at home. The unpleasant episode is easily written off as an inevitable advance in the disassembling of his life.
“Leaving for Kenosha” struck me as a story of less substance. The friend of the daughter of a divorced man is moving to Kenosha with her family. The divorced man has “a feeling of impendment” as he thinks about his daughter one day growing up and moving away. “A Free Day,” the story I liked the least, briefly follows a woman who is having an affair of convenience.
Ford has achieved a perfection of style, a fluid and harmonious voice that few writers manage with such consistency. His characters have a fundamental decency that allows them to grieve their losses without anger. They are civilized if a bit too restrained for their own good. They aren’t the kind of people who make headlines, for reasons good or bad, but they remind the reader that people who are capable of using their intellect are always striving for a balance of intellect and emotional awareness that is incredibly difficult to achieve.
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