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The Way We Were.(Plot summary)

Vogue

| April 01, 2009 | O'Grady, Megan; Steiker, Valerie | COPYRIGHT 2009 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Byline: MEGAN O'GRADY editor: Valerie Steiker

The freshest new fiction takes a backward glance.

A ghostly tobacco farm in 1980s Kentucky is the Faulknerian setting for C. E. Morgan's vibrantly sensual debut, All the Living (FSG), about a young pianist torn between two men, both haunted by the past. PreSeptember 11 New York takes on an amber hue in another debut, Joanna Smith Rakoff's A Fortunate Age (Scribner), a wistful update of Mary McCarthy's The Group, in which Oberlin graduates blithely embark on adventures both professional and romantic under rapidly darkening skies.

An African-American summer beach community in 1985 forms the ice creamspattered backdrop of Colson Whitehead's Sag Harbor (Doubleday), wryly narrated by one of an elite Manhattan prep school's few black studentsa secret fan of Lite FM. A discordant nostalgia can be found in Mary Gaitskill's new story collection, Don't Cry (Pantheon), a gathering of fiercely observed portraits of cultural unease, from the Reagan years to the early days of the Iraq war. Covering the same era, Jay McInerney's How It Ended: New and Collected Stories (Knopf) chronicles a ...

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