A fiftyish graphic designer forced into retirement discovers, via a parade of unlikely events, that it may still be a lovely day in the neighborhood. Wallace Webster lives alone in Kemah, Texas at Forgetful Bay, a condo development where residents are passing away at an alarming rate. As he monitors events in the neighborhood, Wallace keeps in touch with his ex-wife, his grown daughter, a former coworker for whom he has much averted eyes, and a somewhat exotic resident with whom he commences an off-beat affair. He sifts through the curious accidents that plague his neighbors, all the while reflecting on his past and shortening future. Required to reflect upon his own mortality, he wonders if "settling for" something less than he aspired to is a kind of cowardice, or just good sense. Beneath the arresting repartee and the ever-present and often satisfying banality of our modern lives—from Google searches to real life mysteries on TV—lies Frederick Barthelme's affection for and curiosity about our human condition.
Author
Barthelme's works are known for their focus on the landscape of the New South. Along with his reputation as a minimalist, together with writers Raymond Carver, Ann Beattie, Amy Hempel, and Mary Robison, Barthelme's work has also been described by terms such as "dirty realism" and "K-mart realism."He published his first short story in The New Yorker,and has claimed that a rotisserie chicken helped him understand that he needed to write about ordinary people.He has moved away from the postmodern stylings of his older brother, Donald Barthelme, though his brother's influence can be seen in his earliest works, Rangoon and War and War. Barthelme was thirty-three year editor and visionary of Mississippi Review, known for recognizing and publishing once new talents such as Larry Brown, Curtis Sittenfeld, and Amy Hempel early in their careers.
