How to Stop Loving Someone

How to Stop Loving Someone

Book - 2011
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Winner of the 2010 Leapfrog Fiction Contest. "Excellent and lively. A sharp wit, the apt metaphor, the turn of phrase that pleases and surprises."-Marge Piercy, contest judge"Bright, brassy, spunky, intelligent. Ingenious writing. . . . Quirky and filled with metaphoric twists that often startle."-Michael Mirolla, contest judge"Smart, funny, biting, and, above all, touching. A collection to savor over and over."-Michael White, author of 'Beautiful Assassin' Praise for Joan Connor's previous collections:"Brilliantly quirky wit and wordplay."-Syndey Lea, author of 'A Little Wilderness' "A deeply talented writer."-Alyce Miller, author of 'Water' "Candor, bracing wit, and skewering insight that could kill if she let it."-Rosellen Brown, author of 'Half a Heart' Joan Connor's collection investigates love and loss, sex, family, and the ways they echo back through memory, sometimes to comfort and sometimes to bite. Some comic, some dark, the stories range from lyricalto laugh-out-loud funny. The title story is a mock self-help manual on how to fall out of love. "Men in Brown" is a rollicking account of a woman infatuated with her UPS man. "Aground" is a dark account of male lust and violence on a lonely island in Maine. Joan Connor is a professor at Ohio University and at Fairfield University's low residency MFA program. She received the AWP award for her collection 'History Lessons', and the River Teeth Literary Nonfiction Prize for 'The World Before Mirrors'. Her two earlier collections are 'We Who Live Apart' and 'Here on Old Route 7'.
Publisher: Teaticket, Mass. : Leapfrog Press, 2011.
Edition: 1st ed.
ISBN: 9781935248200
Branch Call Number: FICTION Connor Joan 09/2011
Characteristics: 205 p. ;,23 cm.


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it would seem that this would be a quirky, comedic take on feminine love relations, yet the author achieves pathos, here: " Greg, forever lost to me. Greg of summer sidewalks, spraypainted in my heart. Greg, a voice like bricks in water. A missed chance. An unseen face. An unbuttoned blouse and unhooked bra. The tremble of the possible. The dream-name I fell asleep to for a year afterward. Why didn't you call back? Was it something I said? Or how I said it? Was it the color of the paint? Now all unwritten, all unsaid. How could I know that you would be my first love?" the author also has a way with language: "The man and woman stand barefooted among the debris washed ashore. They shout at each over the swashy surf." 'Candor, bracing wit, and the kind of skewering insight that could kill if she let it.'


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