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You Think That's Bad: Stories Hardcover – Deckle Edge, March 22, 2011

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Product Details

  • Hardcover: 240 pages
  • Publisher: Knopf; First Edition edition (March 22, 2011)
  • Language: English
  • ISBN-10: 0307594823
  • ISBN-13: 978-0307594822
  • Product Dimensions: 8.4 x 5.9 x 1.1 inches
  • Shipping Weight: 13.6 ounces
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #1,091,002 in Books (See Top 100 in Books)

Editorial Reviews

From Booklist

*Starred Review* Inclined toward tales of obsession and risk, exceptionally imaginative Shepard is fascinated by the nexus of landscape and mindscape, passion and emotional paralysis. In his fourth highly original collection, stories set in the present dramatize debilitating isolation. A master of the demanding, hence, rare genre of historical short stories, Shepard portrays the bold explorer Freya Stark as she treks across the stony wilds of Iran in the early 1930s. All-but-forgotten scientific and military ventures are the catalysts for two breathtaking stories about love triangles; one involves avalanches in the Swiss Alps; the other, the devouring jungle of New Guinea during WWII. Japan�s postwar trauma is beautifully evoked in a story about the special-effects genius and creator of Godzilla, Eiji Tsuburaya, who, like most of Shepard�s male characters, thrives at work and fails miserably at home. Of particular eeriness is Shepard�s take on Gilles de Rais, the fifteenth-century French serial killer who preyed on children. Shepard also envisions a catastrophic future in a tale about a Dutch hydraulic engineer battling family crises and rising sea levels. There is so much knowledge, insight, feeling, and artistry in each engrossing Shepard story, he must defy some law of literary physics. --Donna Seaman


"Stories so good, so meaty, so brilliant, that you will want to read them over and over, unearth the subtle notes, try to understand what drives people to do what they do." -- Sarah Willis, Pittsburgh Post-Gazette
"Why isn’t Jim Shepard more famous?  A finalist for the National Book Award, he is best known for his obsessive and fearless plundering of the trunks of history, [and here] he summons a gallery of real and imagined anti-heroes.... With empathy, intelligence, and a wit that finds its mark like lightning, Shepard explodes and re-creates the reader’s notions of reality, like a word-wielding Zeus, transporting us light years beyond what we think we know of the world." —Elissa Schappell, Vanity Fair ("Best Books of 2011 You Haven't Read")

"A short-fiction master, [Shepard] here pushes into new territory, giving us 11 stories about characters at the end of their endurance: contradictory, foolishly brave (or bravely foolish), clinging to hope beyond the point that hope is any longer a reasonable alternative." —David L. Ulin, Los Angeles Times

“Each one of these eleven stories stands out for its masterly fusion of technique and subject.” —Alan Cheuse, San Francisco Chronicle

“[Shepard’s] kaleidoscopic . . . genius resides in his omnivorous curiosity and imaginative inventiveness. [His] stories have the strangeness and bell-like clarity of truth [and] the execution is so sure-handed that the reader is drawn in with complete and effortless authority.” —Michael Lindgren, The Washington Post  
“Nobody writes stories like Jim Shepard. They’re cool and sophisticated with an irresistibly wayward humor. At the same time, they’re not afraid to stake everything on moments of pathos.” —Catherine Holmes, The Post and Courier

“Immersive, visceral . . . [Shepard’s] writing is so good it’s borderline gaudy.” —Jacob Schraer, Portland Mercury
“Shepard’s prose never fails to be devastatingly handsome, accreting hard particles of technical description and tough-mouthed man-talk before reaching a lyrical climax . . . He’s our leading miniaturist of massive catastrophe.” —Jennifer Schuessler, Slate

"Remarkably inventive. Shepard moves seamlessly across a wide-ranging fictional landscape with verve, irony and humor . . . [You Think That’s Bad] ranks with the best short story collections of the past 40 years, which puts him in the heady company of such masters as John Cheever, John Updike, Raymond Carver and Alice Munro.” —William Hogan, Albany Times Union
“Potent enough to stamp Shepard as one of  this generation’s short story masters . . . [His] language is precise, the scope of research impressive, and he taps obscure historical events to terrific and terrifying effect.” —Lidia Yuknavitch, The Oregonian
“Shepard has traced his own odd line through contemporary fiction engaging everything from historical figures to the most outrageous landscapes of the imagination . . . These stories bring their first-person narrators right up to the point of obliteration, leaving us exhilarated and depsairing at once . . . A stunner.” —David L. Ulin, Los Angeles Times
 “The stories in You Think That’s Bad are powerful reminders that institutions cannot be considered apart from the individuals who populate them. Armies, empires, corporations, and film crews shape the lives and dreams of countless millions, even as their own fates are made or broken by a few visionary leaders or disobedient drones . . . Shepard finds fascinating ways to consider how the global and the personal are inextricably intertwined, and he never commands less than your full attention . . . Magnificent.” —Justin Taylor, Bookforum
“An exciting collection of stories [that] cast light on particulars so concrete that they call up the love, hate, despair, and—mostly starkly—alienation that we all feel, a feat of alchemy that’s rarer than it ought to be in fiction . . . Many of these stories explore extremes of human endurance and endeavor (and the consequent toll on human relationships), though a few plumb the other depths to which Shepard is an expert guide: human underachievement.” —Sarah L. Courteau, Barnes and Noble Review
“Beautifully written . . . What keeps you reading this eclectic and eccentric collection of stories is the emotional truth of the characters, and their doomed efforts to connect to the people in their lives they love most.” —Ann Levin, The Miami Herald
“Exceptional . . . Shepard reminds us that the short story is an art form unto itself, one that he has mastered in his own elegant and expansive way.” —Scott Ditzler, The Kansas City Star
 “If ventriloquism is a lost art, Mr. Shepard has found it . . . he can move the lips of anyone: a special effects designer on a Japanese film, a 15th-century accomplice to dozens of murders, a retired American soldier reeling with post-traumatic stress disorder. [He nails] entire worlds together with teeming, precise detail.” —Susannah Meadows, The New York Times
“Stunning . . . Cinematic . . . Shepard’s cataclysmic renderings are both terrifying and awe-inspiring. There’s a word for that too—sublime. —O, The Oprah Magazine
“Jim Shepard, who thinks big and writes short, [is] without a doubt the most ambitious short story writer in America . . . In just a few pages, [his] short stories do the work of entire novels in capturing different places and times . . . In every story, Shepard sets his imagination (and ambition) at full throttle. In every story he lets his fancy run . . . A welcome reminder that fiction needn’t be a walk around the precincts of a writer’s experience.” —Taylor Antrim, The Daily Beast
“Beautiful, essential . . . [Shepard is] one of the most perceptive, intelligent and fearless writers of fiction in America today . . . Each of the eleven stories in his new book is heartbreaking and true, and not one is less than perfect . . . [his] evocation of catastrophes both small and large, real and fictional, is an amazing study in contrast and loss, and it’s exquisitely written.” —Michael Schaub, NPR
“A master . . . Shepard’s taut, high-concept, research-dependent fiction covers a bracing, career-long range of hobbyhorses and obsessions . . . And his preference for historical quests, for real people’s big gestures, may help keep American short fiction from falling asleep in the snug little precincts of its usual subject matter.” —Thomas Mallon, The New York Times Book Review
"Excellent . . . brutal, funny, cerebral [and] further proof that Shepard is one of the most catholic writers in America . . . It's exhilarating just to make that list [of his characters], to recall the variety of forms and subjects and voices. And it's even more exhilarating to see what Shepard does to and within these forms, how he can make Blackwater-esque jargon funny, how he can make the end of the world and the end of a marriage equally terrifying, how he can show that we're closest to people when we're hurting them . . . In Shepard's hands the sense of doom is often transformed by the biting wit and his deep affection for his characters and their fates." —Brock Clarke, The Boston Globe
“Exceptionally imaginative [and] highly original…There is so much knowledge, insight, feeling, and artistry in each engrossing Shepard story, he must defy some law of literary physics.” —Donna Seaman, Booklist, starred
“Jim Shepard is a shapeshifting wizard: in some stories he seems to be a historian on hallucinogens; in others a scholarly purveyor of speculative fiction. Whether he’s writing about the past or the future, Shepard combines a wild imagination with a stunning gift for mimesis.  You Think That’s Bad is his best collection yet.” —Jay McInerney
“Shepard’s elegant, darkly-tinged stories of love [offer] humor in unexpected places.” —Publishers Weekly
“Shepard translates the world for us.  I felt so grateful reading this book because he has metabolized, thought about, researched, learned, gleaned, and understood so many complicated aspects of the world we live in.  And not just our world now but past worlds, new worlds, internal worlds, external worlds.  He is a time traveler with insight, and we are just plain lucky to have him bringing back these treasures.” —Aimee Bender
“Shepard’s talent is so various and canny he can write about seemingly anything and make it thrilling to us.  His writerly eye is acute.  His instinct around a sentence is virtuosic and masterful.” —Richard Ford

Customer Reviews

4.4 out of 5 stars
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See all 9 customer reviews
All of us want to be loved.
J. A Magill
Usually an author's voice is identifiable throughout a collection and the range of setting and character are relatively limited.
Book Vixen
Jim Shepard is the best short story writer working today.

Most Helpful Customer Reviews

13 of 13 people found the following review helpful By J. A Magill VINE VOICE on March 30, 2011
Format: Hardcover
One doesn't so much read a Jim Shepard story as dive into his infectiously delicious prose. If you've enjoyed his previous novels or story collections than you're no doubt thrilled at the publication of his latest, //You Think That's Bad.// And if you've not yet had the pleasure, well then consider yourself graced by good fortune and avail take opportunity to immerse yourself in his spectacular imagination.

Other writers to often settle for remaining in their comfort zone; by contrast Shepard stand out for bold leaps in genre, style, and voice, bringing his empathic spirit to topics few others would tackle. . Consider his novel, "Project X," which pushed past the shallow moral outrage that followed the Columbine tragedy and explored a school shooting from the perspective of the perpetrators. Indeed, in addition to his deep research, his black sense of humor, and his gift for characterization, it is his deep pathos, his easy rapport with the exotic, which chimes through this author's work.

The string which binds the stories in//You Think That's Bad// is that empathy ladled onto our common existential tragedy - sure you are alone, struggling, and going to die, but at least we're all in it together. We all want to understand and to be understood. All of us want to be loved. Not that many of us - or Shepard's characters for that matter - achieve these goals. Many, perhaps most, of those inhabiting these stories aren't particularly nice, indeed they often range from the damaged to the outright cruel, but they are all in their own way familiar, even while being impossibly alien.
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9 of 9 people found the following review helpful By David R. Anderson on April 25, 2011
Format: Hardcover
If you ever wondered what goes in to writing a short story, Jim Shepard's new collection, "you think that's bad," offers some good clues. To find them go to the three pages of Acknowledgments at the end of the book. Then look at the list of 18 works he relied on in writing "Netherlands Lives with Water," a description of the hell that breaks loose when the sea walls protecting that low-lying country bend and then break from the force of a one-in-a century Atlantic storm beefed up by climate change.

If you're a reader who looks for more from fiction than a good yarn, Shepard is your man. In "Your Fate Hurtles Down at You" Shepard takes you to a scientific station "on a wind-blasted slope of the Weisssfluhjoch 3,500 meters above Davos" where four "Frozen Idiots" are studying the conditions that turn Alpine snow from a ski trail into an avalanche. He goes back to the mountains again, this time to the Himalayas, in "Poland Is Watching." His protagonist is a Pole who sets out for the summit of Nanga Parbat in the dead of winter because the challenge of climbing it in good weather doesn't count for much in his book. You will cringe from this authoritative story of the incredible hardships and risks involved.

"Gojira, King of the Monsters" couldn't be more timely or more realistic. It is a story built around the Japanese fear of a nuclear disaster, cast in this case as a monster created by nature in retribution for man's many assaults on planet earth. Shepard writes here with the strength of detail and insight which Haruki Murakami brought to "Underground," his remarkable account of the 1995 Tokyo subway gas attack and its effects on the Japanese psyche.
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5 of 5 people found the following review helpful By Book Vixen on March 30, 2011
Format: Hardcover
I was blown away by the author's ability to tell stories that are so completely different from one another. Usually an author's voice is identifiable throughout a collection and the range of setting and character are relatively limited. Jim Shepard seems to me almost a magician, pulling off stories set in different centuries and continents, and as you are reading each one you are thinking--this is impossible--how's he doing it--while hanging onto every beautiful sentence and image. His writing is flawless. Amazing.
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By Ken Brosky on November 16, 2012
Format: Hardcover Verified Purchase
After reading this book, I went back and downloaded every single one of Shepard's short story collections. All of them were good, but none of them came close to this one. This collection features some of the best stories I've read in a long time, and all carry the familiar theme of males struggling to identify with the world around them, to seek out adventure, to come to terms with family and love.

All of his stories are wrapped inside imaginative places and worlds that transport the reader in ways he/she never would expect. Whether it's a daughter searching for the lost city of assassins or the creator of Godzilla working to create a film that will change Japan, the reader is always treated to something greater.
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Format: Hardcover Verified Purchase
I read this some time ago. Freya Stark alone in Persia has stayed with me the longest.

Lovely stories that you can pick up in short bursts of reading, unusual settings, believable characters in incredible settings like Freya Stark.

Recommended for short story lovers.
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More About the Author

Jim Shepard was born in Bridgeport, Connecticut, and is the author of six novels, including most recently Project X, and four story collections, including the forthcoming You Think That's Bad (March 2011). His third collection, Like You'd Understand, Anyway, was a finalist for the National Book Award and won The Story Prize. Project X won the 2005 Library of Congress/Massachusetts Book Award for Fiction, as well as the ALEX Award from the American Library Association. His short fiction has appeared in, among other magazines, Harper's, McSweeney's, The Paris Review, The Atlantic Monthly, Esquire, DoubleTake, the New Yorker, Granta, Zoetrope: All-Story, and Playboy, and he was a columnist on film for the magazine The Believer. Four of his stories have been chosen for the Best American Short Stories and one for a Pushcart Prize. He's won an Artists' Grant from the Massachusetts Cultural Council and a Guggenheim Fellowship. He teaches at Williams College and lives in Williamstown with his wife Karen, his three children, and two beagles.

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