Evening in Paradise

Prepare to fall in love all over again . . . the cunning, beautiful creation of a genius of the form. * NYLON * This never-before-published memoir and new collection are cause for jubilation. In part because they make it clear Berlin's gifts were vast, complex, and full of tonal warmths . . . Like Chekhov, Berlin was a beautiful framer of stories. * Boston Globe * What molds the fiction is Berlin's artistic sensibility ? her global perspective, the shrewd compassion with which she scrutinizes her characters, and the absurdity ? not to mention the flora ? that populates the many landscapes of her world. * San Francisco Chronicle * [Evening in Paradise] reveals just how full a body of rich work Berlin left behind . . . Time and again, the stories reveal that her subject wasn't domestic life but life itself, which for her often happened to be filtered through the domestic. * Los Angeles Times * Long before the current autofiction craze, Lucia Berlin was spinning her day-to-day into powerfully spare prose that ached with brutal authenticity . . . these new volumes become a jigsaw-puzzle portrait of a long-neglected literary legend, baring the autobiographical material that filtered so forcefully into her fiction. The mystery of her fiction is not, it turns out, in the source of its inspiration. It is in how Berlin transformed her life into art that is as vital as the thing itself. * Vogue * There's still plenty in Evening in Paradise to conjure the original thrill of reading Berlin. * Financial Times * Berlin is not only a soulful chronicler of the lost corners of America, whose semi-autobiographical stories brim with red caliche clay, arroyos, drainage ditches and smelter towns. She is not only a writer of vivid bursts of language . . . She is also a distinctly female voice, a raspy Marlene Dietrich. * New York Times Book Review * There is something withholding about the way she mixes minimalism with excess that keeps those of us with the taste for it coming back . . . Berlin's gifts are not ones you have ever tried or been told to cultivate. The details she chooses are those you have purposely eliminated, with that hitch in your ear that tells you to keep everything timeless . . . It's the reason I felt so resentful at first to be shut out, because the intimacy on offer was so great. -- Patricia Lockwood * London Review of Books * More marvellous musical stories from Lucia Berlin who has an eye for the unexpected loveliness in ordinary lives as vivid, vital, impulsive women pitch themselves into the merry, melancholy, messy business of living. * Sunday Express * Berlin's fiction subtly complicates what it meant to be an American in the latter half of the last century . . . The stories in Evening in Paradise, Berlin's second posthumous collection, are filled again with shabby rooms and shabbier lives . . . There is no wallowing, no bathos. Instead there is an acute and varied awareness of the meaning of America, both at home and in the world. * Guardian * Lucia Berlin writes in colour. Not wishy-washy pastels, or hues described with copious adjectives, but instead saturated colour . . . Berlin looks for other ways to think about women's lives, freed from simple explanations. * TLS * You might assume that these represent the crumbs from the table, the ones not good enough to make the first volume, but that's not the case . . . you can't keep a good stylist down, and an authentic voice begins to come through. -- John Self * Irish Times * Berlin expertly balances beauty and bleakness, and finds drama, joy or revelation in humdrum experiences . . . Berlin once again makes original art from her chequered life . . . When the words flowed, Berlin managed to perform small miracles with them. * Economist * There's always an audacious humour and humanity to [Berlin's] writing. * Red * In Evening in Paradise - which reads like novel-in-stories-Berlin shows that she was a master of the short story . . . This book is so transportative, so won

Lucia Berlin (1936-2004) worked brilliantly but sporadically throughout the 1960s, 1970s, and 1980s. Her stories are inspired by her early childhood in various Western mining towns; her glamorous teenage years in Santiago, Chile; three failed marriages; a lifelong problem with alcoholism; her years spent in Berkeley, New Mexico, and Mexico City; and the various jobs she held to support her writing and her four sons. Sober and writing steadily by the 1990s, she took a visiting writer's post at the University of Colorado in Boulder in 1994 and was soon promoted to associate professor. In 2001, in failing health, she moved to Southern California to be near her sons. She died in 2004 in Marina del Rey. A collection of her stories, A Manual for Cleaning Women, was published to great acclaim in 2015.

Unit - 1: The Musical Vanity Boxes Unit - 2: Sometimes in Summer Unit - 3: Andado: A Gothic Romance Unit - 4: Dust to Dust Unit - 5: Itinerary Unit - 6: Lead Street, Albuquerque Unit - 7: Noel. Texas. 1956 Unit - 8: The Adobe House with a Tin Roof Unit - 9: A Foggy Day Unit - Cherry Blossom Time: 10 Unit - 11: Evening in Paradise Unit - 12: La Barca de la Ilusion Unit - 13: My Life Is an Open Book Unit - 14: The Wives Unit - 15: Noel, 1974 Unit - 16: The Pony Bar, Oakland Unit - 17: Daughters Unit - 18: Rainy Day Unit - 19: Our Brother's Keeper Unit - 20: Lost in the Louvre Unit - 21: Luna Nueva Unit - 22: Sombra