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Things We Didn't See Coming [Hardcover]

Steven Amsterdam (Author)
4.4 out of 5 stars  See all reviews (5 customer reviews)

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Book Description

February 2, 2010
Michael Williams, in Melbourne’s The Age, wrote of this award-winning, dazzling debut collection, “By turns horrific and beautiful . . . Humanity at its most fractured and desolate . . . Often moving, frequently surprising, even blackly funny . . . Things We Didn’t See Coming is terrific.” This is just one of the many rave reviews that appeared on the Australian publication of these nine connected stories set in a not-too-distant dystopian future in a landscape at once utterly fantastic and disturbingly familiar.
 
Richly imagined, dark, and darkly comic, the stories follow the narrator over three decades as he tries to survive in a world that is becoming increasingly savage as cataclysmic events unfold one after another. In the first story, “What We Know Now”—set in the eve of the millennium, when the world as we know it is still recognizable—we meet the then-nine-year-old narrator fleeing the city with his parents, just ahead of a Y2K breakdown. The remaining stories capture the strange—sometimes heartbreaking, sometimes funny—circumstances he encounters in the no-longer-simple act of survival; trying to protect squatters against floods in a place where the rain never stops, being harassed (and possibly infected) by a man sick with a virulent flu, enduring a job interview with an unstable assessor who has access to all his thoughts, taking the gravely ill on adventure tours. But we see in each story that, despite the violence and brutality of his days, the narrator retains a hold on his essential humanity—and humor.

Things We Didn’t See Coming is haunting, restrained, and beautifully crafted—a stunning debut.

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Editorial Reviews

Amazon.com Review

Steven Amsterdam on Things We Didn't See Coming

The first story I wrote for Things We Didn’t See Coming, "The Theft That Got Me Here," was inspired by two news stories--one, the nasty partisan splay in recent elections and, two, a local interest piece, where an elderly couple who were about to lose their driver's licenses tried to drive away before getting caught. I set my story a little bit in the future and wrote from the perspective of a teenage boy, a budding criminal who is forced to take care of his slow-moving grandparents for the summer because his grandfather's license has been revoked. There’s a barricade between the city and the country, so he’s stuck on their dry treeless street. The day the story begins, his grandmother’s medication for Alzheimer’s kicks in and she is suddenly as sharp as she ever was. She wants to go for a drive in the country and she’s not accepting no. They make it out of the city, but nothing goes according to plan. Writing the last line of the story, I thought, there's more to this boy. I wanted to see what else he might do in his future. This time I chose a different scenario, where rich, terminal patients can indulge in adventure tourism. The narrator is their tour guide (and he's not so well himself). In the next one I wrote, he's riding a horse through a three-month downpour, clearing people out of their houses before a flood.

By separating each story by a few years, I was able to engage several of the things that are on my mind--dazzling technological advancements, societal shifts, food shortages, new medical treatments, and good old climate change. This freed me up from being caught in a particular groove (e.g., pandemic), and allowed for a variety of futures, which kept it from being your standard dystopian bummer. Although the landscape is always changing, the consistent element is the narrator growing up. The jumps in the story of his life let me leave gaps for the reader to fill in.

When I got through most of the stories, I found myself thinking of my illustrious forebears. Remember Orwell’s vision of 1984? He was two decades early with his vision of security cameras everywhere, and even he wasn't dark enough to imagine an actor being elected as head of state. I realized that nothing works out, not even worst-case scenarios. I didn’t want anyone reading this book as my prediction. I wanted it to be thought of as variations on the theme, but spread out over the narrator’s life. This is why I wrote "What We Know Now," which comes first in the collection. I set it in the past, on the eve of this millennium, with the boy’s father frantic to get out of town before the grid goes down. Remember Y2K and how we were going to run out of power and food come January 1? Exactly.

So the stories grew from worries about the future, stray items in the news, and The Economist’s technology quarterly, which is unsurpassed for alarming and amazing facts about things to come. A few novels I was reading at the time also had an impact. Saramago’s Blindness, in particular, showed people cobbling meaning together in a time of change. His depiction of a familiar city, transformed, and his language, spare but emotional, gave me a certain freedom with creating new worlds. And other favorites sustained me--Nabokov and his obsessive powers of observation, James M. Cain and his tightly sprung twists, Shirley Jackson and her love of the weird, and Capote with his ear for language. I am grateful to them and just about everyone else. --Steven Amsterdam

(Photo © Corry De Neef)


From Publishers Weekly

Given that its nine linked stories are set in a postapocalyptic near future, the pleasure of Amsterdam's debut collection is surprising. Over the course of the book, just about every possible disaster assails the unidentified country in which the stories are set. Floods, drought, mob rule, and a virus that has one deranged character coughing up blood—each play a role in the disintegration of the world as we know it, and Amsterdam's narrator survives them all, first as a thief, later as a bureaucrat (which turns out to be not much different from a thief), and finally as a 40-year-old, cancer-ridden tour guide. Among the high points are Dry Land, in which the narrator encounters a drunken mother and her daughter clinging to each other in a cataclysmic flood, though each is more likely to survive alone; and Cake Walk, with a narrator who hides in a tree while a man infected with a deadly virus destroys his campsite. Though a couple of the later stories lack polish and punch, Amsterdam's varied catastrophes are vividly executed, while his resilient narrator's travails are harrowing. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Product Details

  • Hardcover: 208 pages
  • Publisher: Pantheon; 1 edition (February 2, 2010)
  • Language: English
  • ISBN-10: 0307378500
  • ISBN-13: 978-0307378507
  • Product Dimensions: 5.7 x 0.9 x 8.5 inches
  • Shipping Weight: 12 ounces (View shipping rates and policies)
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #565,649 in Books (See Top 100 in Books)

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Average Customer Review
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6 of 6 people found the following review helpful:
4.0 out of 5 stars An imagined Australia, April 1, 2010
By 
Amy Henry (Nipomo, CA United States) - See all my reviews
(TOP 1000 REVIEWER)    (VINE VOICE)   
This review is from: Things We Didn't See Coming (Hardcover)
This collection of short stories was released in February and is definitely going to get some big press. The author, Steven Amsterdam, is a native New Yorker who moved to Australia in 2003. He is youngish and it comes through in the feel of these stories: one unlike any others I can remember. I've read many collections before, but often it seems they are told by an older `voice', usually an introspective older man or woman. In the case of my beloved Tim Winton short stories, the voice changes throughout to different people and different age ranges. These however have a snarky young voice, a male narrator, and it spins things around quite a bit as the topics are different as well. The pace is fast and the humor is biting. Amsterdam makes visual pictures of a future Australia that are brutal and painful and heartbreaking.

In "The Theft That Got Me Here", a young man who lives with his grandparents, one of whom is suffering from Alzheimer's, is greeted with a surprise:

...Grandma opens the door and she's fine. She's standing on her own, not holding the walls, nothing. She's been off the map for six years and now she's looking at me like a professor. Not speedy and scared, like she was on the last treatment, but simply there, her old self. And this isn't me on drugs. It's her on drugs.

In "Dry Land", Australia goes through a rain cycle that doesn't end. For years. All that dry, dusty outback becomes a series of lakes, and the rain never stops. People are forced to evacuate, and while they try to hold off, leaving becomes inevitable. The narrator observes that "Despite all the feelings we think we've got for our loved ones and our attachments, when push comes to shove most people figure out how to travel light."

The author blurb on the back states that Amsterdam is a psychiatric nurse as well as an author. I'm certain that his experience in health care has made him more aware of the more subtle layers of fear and anger, those that he exposes so well in this collection. It's not in the big details that he reveals them, but in the little details, the little inflections and asides. An unusual collection that is a fun read from someone we're going to hear good things about!
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4 of 4 people found the following review helpful:
4.0 out of 5 stars Very Interesting Take on the Post-Apocalypse World, February 20, 2010
This review is from: Things We Didn't See Coming (Hardcover)
I thoroughly enjoyed this book. While the book is a collection of short stories that could each stand alone, I felt that it read like a novel as the stories, presented in chronological order, follow the life of one particular character through his experiences in a post-apocalypse world. The short story format allows the author to envision a host of different disaster scenarios plaguing the world, from climate change to a government run amok to a terrifying virus, thus making this book very different from other books that try to describe living and surviving in a post-apocalypse future. All in all, a very interesting read.
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4 of 5 people found the following review helpful:
5.0 out of 5 stars If You Liked "Cloud Atlas" and/or "The Road"..., March 29, 2010
By 
D. F. Robison (Seattle, WA United States) - See all my reviews
(REAL NAME)   
This review is from: Things We Didn't See Coming (Hardcover)
Somewhere in the landscape between Cormac McCarthy's "The Road" and David Mitchell's "Cloud Atlas", lies Steven Amsterdam's "Things We Didn't See Coming". With spare, succinct writing, Amsterdam creates a full, if dyspeptic world, though not nearly as brutal as McCarthy's. The book is made up of chapters that could each be a short story, but nevertheless work as a novel. Plenty there to chew on and then it sticks to your ribs.
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