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No One Belongs Here More Than You

by Miranda July

3.75 · rating details · 11,493 ratings · 2,183 reviews

Award-winning filmmaker and performing artist Miranda July brings her extraordinary talents to the page in a startling, sexy, and tender collection. In these stories, July gives the most seemingly insignificant moments a sly potency. A benign encounter, a misunderstanding, a shy revelation can reconfigure the world. Her characters engage awkwardly -- they are sometimes too...more

Hardcover, 224 pages

Published May 15th 2007 by Scribner (first published January 1st 2007)

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Jun 22, 2007

Anne rated it

Recommends it for: birthmarked women. stylish prosers. magazines who might publish my fiction.

Note: If I could fashion a little half-star and put it in the rating, I would give this book at 3.5.

Miranda July: she's the lightning-rod hipster conversation of the year. I say her name at dinners and people rise from their chairs to damn or bless her. They pace and sweat and expound upon why she is the worst/best thing to happen to fiction in eons. They yell: "She's the next Lorrie Moore!" or "She's like those people who try to imitate Lorrie Moore and miss wha...moreNote: If I could fashion a little half-star and put it in the rating, I would give this book at 3.5.

Miranda July: she's the lightning-rod hipster conversation of the year. I say her name at dinners and people rise from their chairs to damn or bless her. They pace and sweat and expound upon why she is the worst/best thing to happen to fiction in eons. They yell: "She's the next Lorrie Moore!" or "She's like those people who try to imitate Lorrie Moore and miss what's really good about her!" Sometimes they've actually read one of her stories or seen her movie, but sometimes they just resent her fame or adore her blog. In the bookstore, the yellow or pink jacketed hardcover book of short stories (yes, I said hardcover) beams from the bookshelf. It says, "I have no cover design. I need no cover design. And yes, my author photo went shopping at Anthropologie, then shunned all human contact (or staged this elaborate ruse)." I bought the yellow book. I was simultaneously suspicious and curious. And I STILL AM, despite having finished it. Here's the thing: Miranda July is an immensely talented writer. I want to make out with her imagination. Some of the stories ("Something That Needs Nothing," "Birthmark," "Mon Plaisir") in this collection are fabulously weird and lovely and offbeat -- and they take you to surprising emotional places. Others, however, feel a bit overwritten and unfinished. I admire her authority, but sometimes it comes across as vanity, and I get squirmy when I think an author relishes her own prose or ideas too much (takes one to know one). The things that leave me cold in July's work are the very things I worry about in my own, so this is a very personal critique. Lately, when magazines turn down my fiction, they praise my prose and voice and characters -- but they don't buy the endings or feel there is enough closure, etc., etc., so I want to know how she can fool them all and I can't? The truth is, I *loved* some of these stories. The last in the book -- "How to Tell Stories to Children" -- I would even give five stars to. But I feel let down by selections like "Making Love in 2003" and "The Boy from Lam Kien," which read like a bunch of "good line - no home" fragments pieced together. And stories like "The Shared Patio" and "The Swim Team" (the latter of which people go all kinds of crazy for) feel unsatisfyingly incomplete -- they set something up but don't go places with it. Nothing shifts. Saying this makes me feel conventional, but when I read, I want to feel *something* or be supremely aware of its absence. In these stories, July swears it's there, but it's not always. Also, I'm tiring of madwomen -- in her fiction, in my fiction, in everyone's fiction. OK, fine, I love them, but I also wonder what we're not dealing with or what kind of shortcut this is or if we think only nutjobs speak-think magical prose. "Ten True Things" and "Something That Needs Nothing" reminded me so much of my own stories (thematically and prose-ishly) that it was almost hard to read them. I felt like she was showing me everything that's glorious and horrible in my own work...everything was magnified. [Apologies to anyone who has read this far for all presumptuous, conceited, self-centered, self-analytical, self-serving comparisons above. I seek unprofessional help from anyone who wants to comment.:](less)

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Sep 14, 2007

Jeff rated it

Recommends it for: people who are walking around a bookstore

I bought this book cause I was walking through a bookstore with a friend of mine... a friend I adore more than newborn puppies and tiny rabbits hopping in fields of grass, and she said, "MIRANDA JULY! I love her. She made the movie You, Me, and Everyone We Know."
I hadn't seen the movie, but I remember seeing an ad in the paper and thinking, "I want to see that movie."
And it was because of that, and because I adore this girl more than newborn puppies, and rabbit...moreI bought this book cause I was walking through a bookstore with a friend of mine... a friend I adore more than newborn puppies and tiny rabbits hopping in fields of grass, and she said, "MIRANDA JULY! I love her. She made the movie You, Me, and Everyone We Know."
I hadn't seen the movie, but I remember seeing an ad in the paper and thinking, "I want to see that movie."
And it was because of that, and because I adore this girl more than newborn puppies, and rabbits hopping in fields of grass, and moonlit nights, and sundrenched mornings, that I bought two copies of the book (one for her, and one for me. One could say "Jeff: Nice boy." One has said, "Jeff: Helpless romanitc sucker." I loath both definitions.

A book of short stories. Most are delicate. Like something you'd find in your grandmother's junk drawer. Not the one in her kitchen. The one that's the top drawer of her dresser. The one that's filled with pearl buttons, and half knitted doilies, and old black and white photos with a younger version of your grandmother, and complete strangers. You wonder who those people were? What kind of double life did your grandmother lead? Are these people still alive? Does she keep in contact with them? It's a whole world of possibility. You start to see your grandmother in a wholey different light. She's no longer this older woman who is constantly trying to feed or, or berating you for not wearing shoes or not having a job befitting of a college graduate. She's a real person now, with half knitted doilies, and pictures of random people. Old patches that look as if they were ripped off a G.I. uniform.
It would break your heart if you asked, and your Grandmother said, "Oh, look at that. You found that in my drawer? No, I have no idea what that is."
So you just let your imagination run wild.

Some stories fall flat. Like opening your grandmother's junk drawer and finding nail clippers. But at least they're sharp nail clippers... not the kind that break your nails when you try to use them. And sometimes, that's enough to get you through the day.(less)

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Jun 22, 2008

Alison rated it

Recommends it for: Ugh, I don't know.

For me, this book was two stories away from being downright terrible. One story, "Mon Plaisir," I thought was excellent. Another I found myself enjoying quite a bit. Others contained passages that made me grimace. Physically. Like, I wanted to turn my head away. Instead, I just dog-eared the pages that contained the shitty passages:

"My knees buckled, I went down to the floor. I cried in English, I cried in French, I cried in all the languages, because tears ar...more

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Jul 18, 2007

Siobhan rated it

Recommends it for: sorry, nobody...

I hate to say this, but I really did not enjoy the experience of reading past the first two stories or so. After a while I just couldn't figure out the appeal of a book that is packed cover to cover with disingenuous, childlike, wide-eyed, self-destructive women who are really just ciphers that things happen to... Okay, I take that back, of course that’s appealing to people, have I never watched porn or "Charmed"? But all the narrators would say things like, “After my boyfriend was inc...more

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Aug 20, 2007

Avishay Artsy rated it

Missed Connection
Author exorcises demons as characters search for love
by Avishay Artsy

Everybody gets lonely sometimes, and Miranda July crams as many forms of loneliness she can think of in her first collection of stories.

The inhabitants of July’s imagination reach out to strangers in hopes of genuine connection. Unable to find it, they often use sex to simulate closeness. A teacher seduces a 14-year-old boy in her special-needs class, and no one notices beca...moreMissed Connection
Author exorcises demons as characters search for love
by Avishay Artsy

Everybody gets lonely sometimes, and Miranda July crams as many forms of loneliness she can think of in her first collection of stories.

The inhabitants of July’s imagination reach out to strangers in hopes of genuine connection. Unable to find it, they often use sex to simulate closeness. A teacher seduces a 14-year-old boy in her special-needs class, and no one notices because “nobody really cares about anyone but themselves anyway.” An old man dreams of bedding a teenage girl, only to result in his first gay encounter with a co-worker. A woman climaxes while listening over the phone to her sister catalog her nightly sexual conquests. Two women at a romance seminar hold each other and weep passionately, then break apart, embarrassed.

July has been toying with the concept of disaffection for over a decade. Her early spoken word/music collages were released on the Kill Rock Stars label. In 2005, she starred in her breakout indie feature film “Me and You and Everyone We Know” as herself, a young performance artist eager to break into the art establishment. Likewise, her stories are narrated in the first person, an acknowledgement of the inseparability of her creations from herself.

July is among the finest of a growing pool of younger writers looking to chronicle the nation’s ennui. But her characters seem mostly oblivious to the problems outside their windows. The occasional references to popular culture, such as a television show where “couples compete at remodeling their kitchens,” are dismissive, treating the outside world as grotesque and senseless.

Despite the bleakness of their lonely lives, the adults in the stories respond to their surroundings with child-like puzzlement and wonder. One woman teaches the elderly inhabitants of her small town to swim by having them crawl across her apartment floor, their faces submerged in bowls of water. Another witnesses a neighbor having a seizure, and rather than rush for help, lays her head on his shoulder and takes a nap. Then, when she is awoken and sent to retrieve his medicine, a photograph of a whale on the refrigerator door sends her into a reverie. The woman, an amateur advice columnist, suggests depressed readers share their sorrows with a telephone operator or postman.

If there’s a shortcoming here, it’s that the empathy the reader feels for the characters soon gives way to annoyance at their remorseless narcissism. They all seem like thinly-veiled sketches of the author, wondering what it means to really love. It seems trendy to complain that, with so many new gadgets and digital landscapes designed to improve communication, no one knows how to speak to each other anymore. But July’s characters don’t just want to talk, they want to belong. And in their search for connection, they somehow manage to scratch out a place of their own.

No One Belongs Here More Than You: Stories by Miranda July (Scribner: 2007), 205 pages.(less)

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Jan 22, 2012

oriana rated it

Shelves: read-2007, the-new-new-new-new-thing, i-liked-it-so-there

This book was perplexingly good. The best adjective I can come up with for these stories is sharp. Not sharp like "clever" or whatever, but sharp like sharp, like a knife or thorns or something that actually cuts you. The stories all hurt, really, which is why I say perplexingly good. I mean, it's hard to say you like something that leaves you feeling like you just got a hole punched in you. Everyone is just so lonely, so unloved, so despairing.

Anyway though, I did like it....more

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Jan 04, 2008

Conner H. (AK) rated it

No One Belongs in an Undergrad Creative Writing Class More Than Miranda July.
Imaginatively and intellectually lazy. These stories - like Me and You and Everyone We Know - showcase bursts of philosophy that go nowhere. There are brief glimpses of hilarity and depth, but that's it. Often, the starting point for a story will be exciting - then it will get pulled through the insubstantial-yet-"cool"-"pop"-"retro" Play-Dough Fun Factory and just look like spaghet...more

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Aug 28, 2007

Ben rated it

Shelves: books-i-gave-up-on

Miranda July's radio pieces are excellent. She tells her off-beat and romantic or oddly sinister stories, dramatizes quirks as real characters and situations, and enchants you with her squeaky little voice. Nothing makes sense, but nothing *has* to make sense. You just have to listen and be carried away.

I thought her movie was pretty good too, although right on the edge of being twee and pretentious. You see, when you take a picture of something you give it weight. You're saying: t...more

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Jul 26, 2007

Caroline rated it

On the first really hot day of summer '07 in New York, I lied down to read Miranda July's "No One Belongs Here More Than You." The collection of short stories reads very quickly; after two hours alone in my room I had read through more than half.

Miranda July's storys are punctuated with the lost and the lonely and the slightly perverse. A father who teaches his taughter how to pleasure women with his special finger tricks, a girl who teaches the ederly in a desert communi...more

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Dec 03, 2010

Jessica rated it

· review of another edition

Shelves: crazy-ladies, love-and-other-indoor-sports, leetle-boys

I came fully prepared to get way into this book, but so far I don't like the stories I've tried. I really loved her movie, and I remember liking her performance stuff back in Portland, during those so long-ago, simpler times. I'll try a few more of these, but so far I'm surprised by how draggy the ones I've tried seem to me -- not like fun drag-queen draggy, just a drag kind of draggy.... I was worried they'd be too whimsical, but actually the feeling I get while reading is sort of of the opposi...moreI came fully prepared to get way into this book, but so far I don't like the stories I've tried. I really loved her movie, and I remember liking her performance stuff back in Portland, during those so long-ago, simpler times. I'll try a few more of these, but so far I'm surprised by how draggy the ones I've tried seem to me -- not like fun drag-queen draggy, just a drag kind of draggy.... I was worried they'd be too whimsical, but actually the feeling I get while reading is sort of of the opposite -- bored and oppressed and kind of grossed out and tired but not in an interesting way.

I'll try some more, and hopefully come around to it!

***

It took me a minute to get into this, but I did wind up liking it. I think of July as primarily a performance artist, and this book is to performance art as a regular book of short stories is to a painting hanging on a gallery wall. That is, ordinarily short stories seem like these things writers create by using parts of themselves, yes, but then those stories are detached from the person of the author and from each other, they're each separate things. You can read most short stories without thinking about who wrote them, and usually if they're good they're distinct from the other short stories standing around them. But all of these stories were really just the same story, and they weren't even stories really, they were more mostly just Miranda July, or at least, she was such a tangible presence that it was as if she were there, like the stories really couldn't exist without her being there telling them, they were all stories about her. And sort of interdependent with each other. At first I didn't think I liked that, but then I decided I did.

Even though they're all basically the same story, some of them are better than others. My favorite was "Something That Needs Nothing," which I'm pretty sure didn't explicitly say it took place in Portland, but for me it was so obviously taking place in Portland, and it just seemed so real and good, and really about what it's like to be that age and dealing with people and the world in these super intense painful ways. It made a lot of sense to me. "I Kiss a Door" was pretty good. And I really loved "This Person," I think that was my second favorite. Also maybe "Majesty" and "The Man on the Stairs"? I don't think I was that crazy about most of the other ones, though I guess they had their moments.

At first I didn't like them because sometimes when stories are all kind of weird and unstructured like this they feel sloppy to me, like the person just sat down and wrote whatever came out of her. But then I decided that this wasn't necessarily a bad thing. They are kind of like these hallucinogenic speech bubbles that are coming out this lady who is there with you, practically in the room, and these are pieces of her. Obviously the author is always a presence in some way, I mean, you're usually aware at least on some level that someone wrote what you're reading, and you notice their personality or whatever to varying degrees. What I mean when I say this was like performance art was that it felt like she was literally there, while I was reading, though I mean obviously she wasn't. But by the logic of the stories, I guess she almost could have been. I don't know. I liked them. But if I'd decided I didn't like Miranda July, I wouldn't have, so if you don't wind up liking her reading these will be awful.(less)

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Jun 25, 2008

Steven rated it

Shelves: short-stories

One of the worst collections I've ever finished. I bought this one in hardcover when it first came out and was excited to read it because it had great buzz and won the Frank O'Connor prize. Sadly, I struggled through every story. Perhaps I will enjoy this more on some future reread; and I'm even willing to concede that I might be tone-deaf to this author at this time, but I suspect she was given a free pass on her fiction because of her success as a filmmaker. The cover blurbs trumpet her origin...more

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Dec 04, 2008

Tee Rex rated it

Shelves: i-own, short-stories

I was torn between wanting to punch her writing in the throat, and loving it to shreds. I've changed my rating a million times and probably forever will. It's hard to rate a book of short stories like this one, some of them were a straight out 1, others were a 5. Sometimes I feel July is pretentious, other times I get excited that I'm not the only person in the world that is so god damned weird. Her thought processes go in places that mine do. I was the kind of kid who failed school -not because...more

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Aug 30, 2007

Afshi rated it

Shelves: enjoyed

I didn't love it the way I thought I would. A lot of the stories are similar, and are almost all in first person. Which is fine, but after a while, with short stories, it begins to feel like there is only one character and it can get boring. It's difficult to establish who many of the story tellers are, and July introduces bits of information about them almost as an afterthought; as if she knows they all sound like the same person and she needs to fix it. When she suddenly has a character descri...more

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Dec 06, 2007

Jason Pettus rated it

(My full review of this book is longer than GoodReads' word-count limitations. Find the entire essay at the Chicago Center for Literature and Photography [cclapcenter.com].)

I don't think it's any secret by now that I'm not a big fan of short stories, and even less so of bound story collections released as full-length books. I mean, I don't dislike short stories per se, just that I don't particularly go out of my way to read them either, and in general find most to be there and then g...more(My full review of this book is longer than GoodReads' word-count limitations. Find the entire essay at the Chicago Center for Literature and Photography [cclapcenter.com].)

I don't think it's any secret by now that I'm not a big fan of short stories, and even less so of bound story collections released as full-length books. I mean, I don't dislike short stories per se, just that I don't particularly go out of my way to read them either, and in general find most to be there and then gone again before I've ever really gotten a chance to sink my teeth into them, a frustrating thing for someone like me who really likes to do a deep, analytical reading of all the projects I consume in my life. But I also acknowledge that this is merely my personal biases shining through, and that there are in fact lots of things to admire about the short-fiction format as well, and lots of reasons to like stories precisely because they aren't full-length novels. For example, it's undeniable that in Western culture at least, short stories are one of the only narrative formats where one is allowed to ditch the traditional three-act structure (the framework behind most Western fictional projects since the times of the ancient Greeks), one of the only places where artists are allowed to be truly experimental without automatically having their work tossed into the "artsy mess" ghetto that so many of the general populace refuses to enter. It's a thing I've been thinking more and more about this year, in fact, of where the balance should lay in a person's life between longer traditional stories and shorter experimental ones; that while it's true that a well-rounded person should have a little of both as part of their intellectual diet, it's also true that most of us by human nature are going to vastly prefer one format over the other.

Take as a good example the first story collection I've now read for review here at CCLaP, the engaging and sometimes deeply disturbing No one belongs here more than you., the first traditional book by non-traditional artist Miranda July; it is in fact a perfect example of what I'm talking about, with the stories on display being both greater as a whole than any traditional novel and so much less as a sum of its parts, an experience that feels like being on a moped on an urban street full of start-and-stop traffic. Although ultimately a worthwhile publication, full of stories that I think really stand out among the world of contemporary literature, the book is unfortunately a fitful read as well, with certain pieces that will yank your brain right out of the made-up world that July so carefully slipped you into during the previous story. That's frustrating to me, as someone who likes getting caught up in the fictional projects I take on; it's frustrating to lose oneself in one of July's deceptively intense stories on display, just to be yanked back into the real world with the subpar writing or plotting of the next.

So why take on this book in the first place? Well, because...(less)

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Jan 31, 2008

Jonathan rated it

“Not everyone has to be literate, there are some great reasons for resisting language, and one of them is love.”

So goes the lilting logic in Miranda July's self-fashioned world of wonder and regret and pain and hilarity. One wishes continually when flipping through this book that he could be part of her microcosm. Playing observer to the tragicomic plights of her characters is damn good fun, though.

The wrenching-yet-light "The Shared Patio" leads off, sufficient...more“Not everyone has to be literate, there are some great reasons for resisting language, and one of them is love.”

So goes the lilting logic in Miranda July's self-fashioned world of wonder and regret and pain and hilarity. One wishes continually when flipping through this book that he could be part of her microcosm. Playing observer to the tragicomic plights of her characters is damn good fun, though.

The wrenching-yet-light "The Shared Patio" leads off, sufficiently whelming from the start. July renders the fine line between utter sadness and true joy to a blur. It's the bearable lightness of being that gets her characters through, and that maybe gets her through too. One can see how these short stories are a form of self-therapy for the scribe.

And what a whimsical pen it is that she wields:

“That is my problem with life, I rush through it, like I’m being chased. Even things whose whole point is slowness, like drinking relaxing tea. When I drink relaxing tea, I suck it down as if I’m in a contest for who can drink relaxing tea the quickest. Or if I’m in a hot tub with some other people and we’re all looking up at the stars, I’ll be the first to say, It’s so beautiful here. The sooner you say, It’s so beautiful here, the quicker you can say, Wow, I’m getting overheated.”

I am hardly doing her justice. Even so, a recap of a few of the tall, lean tales she weaves: "The Man on the Stairs" is actually spellbinding stuff in the vein of Roald Dahl or Edgar Allen Poe (no, really). "The Sister" is chuckle-inducing before and after it is immensely sad. "Making Love in 2003" is perhaps the most taut of the longer stories, and July hilariously introduces the children's fantasy writer Madeleine L'Engle as one of her characters (it's not really her, and L'Engle herself actually just left our swiftly tilting planet in 2007).

The people populating these stories are flawed and fabulous. You want to know them all, even the disagreeable ones. Through the sharp eyes and tart tongues of her creations, July relays her thoughts on love, romance, pain, and more. Her takes on friendship are most real and convincing of a lot of real and convincing statements. She simply adds a real lightness to the weight of being human. We could all learn from that.

“Are you angry? Punch a pillow. Was it satisfying? Not hardly. These days people are too angry for punching. What you might try is stabbing. Take an old pillow and lay it on the front lawn. Stab it with a big pointy knife. Again and again and again. Stab hard enough for the point of the knife to go into the ground. Stab until the pillow is gone and you are just stabbing the earth again and again, as if you want to kill it for continuing to spin, as if you are getting revenge for having to live on this planet day after day, alone.”(less)

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Jan 27, 2008

Ill rated it

I am a cynical, old curmudgeon. I don't like darlings, I have no use for them. Miranda July is nothing if not a darling. So it is with great dismay that I report that she is also a terrific writer. Her stories are almost deceptive in their simplicity. What seems like it should be easy and cute is instead stark and visceral. Granted, I haven't read the whole thing: I just sneak stories in on my smoke breaks and read everything she publishes in literary journals. But I read "Majesty" and...more

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Dec 23, 2008

Jesse rated it

okay i rarely give up on books and when i do i rarely give them ratings. this is because i hate when people have only read like the first 100 pgs of like "gravity's rainbow" or "infinite jest" and because they have taken all of the 2 hours it takes to read that they think it qualifies them to then pass judgement on the whole book which took me a good forty hours to read, and that i loved. but lets face it, miranda july is no pynchon or dfw. that said i'm not here to bash the ...more

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Oct 12, 2007

Barbara rated it

Recommends it for: self-important hipsters

Shelves: fiction

After hearing so many good things about this book, I was disappointed to find that it was actually pretty awful. The characters- mostly women- are just so unbelievable. Unbelievable in the sense that they don't seem like real people that the rest of us know. Maybe it's just my background that I couldn't identify with these characters and thus get into the stories. I prefer a combination of good character development and plot usually. This had relatively no character development- they were weird,...more

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Sep 06, 2007

Aaron rated it

Did you ever see the movie Me, You, and Everyone We Know?

I did. I loved it. It was, in fact, one of my picks for the Top Five Movies of 2005.

This book, a stunning collection of melancholy stories, is written by the woman who wrote, directed, and starred in that film. If you liked that movie, you'll love this book. If you like this book, you'll want to see the movie. If you've done neither, you should do both. She's an incredible writer and this collection is one of the ...more

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Aug 10, 2007

Carissa rated it

Recommends it for: readers who are overly attached to novels with linear narratives

Shelves: finished

"It doesn't really feel like driving when you don't know where you're going. There should be an option on the car for driving in place, like treading water. Or at least a light that shines between the brake lights that you can turn on to indicate that you have no destination. I felt like I was fooling the other drivers and I just wanted to come clean. But the more I drove, the more I felt like I had somewhere to go. I was making difficult left turns that no one would ever do unless they had...more"It doesn't really feel like driving when you don't know where you're going. There should be an option on the car for driving in place, like treading water. Or at least a light that shines between the brake lights that you can turn on to indicate that you have no destination. I felt like I was fooling the other drivers and I just wanted to come clean. But the more I drove, the more I felt like I had somewhere to go. I was making difficult left turns that no one would ever do unless they had to. Sometimes I would make left turns all the way around a block, and when I returned to the original intersection, I would feel disappointed to find all the drivers were new. It wasn't like a square dance, where you miraculously end up with your original partner, laughing and feeling giddily relieved to find him after dancing with everyone else in the world. Instead, they swung around and kept on going, some people were at work by now, or halfway to the airport. In fact, driving might be the thing most opposite of dancing. I wondered if I would spend the rest of my life inventing complicated ways to depress myself, now that I had finished my book and gone to meet the man who said I had promise a year ago but wasn't home today." -- Miranda July, "Making Love in 2003"

Yesterday I asked my boyfriend if I could read him a story or two from this collection of funny and tender stories from Miranda July.

He said, Who's Miranda July?
I said, Do you remember that movie we started watching last year but didn't finish? It was called Me and You and Everyone We Know?
He said, No. I don't remember that.
I said, The first scene in the movie showed a guy walking outside and pouring lighter fluid on his arm and then setting his arm on fire? Remember?
He shook his head. No. I don't remember that.
(I thought, How could you possibly forget that?)

I didn't end up reading any stories aloud to him. But if I had, I probably would have read "Making Love in 2003," which I granted a quote of inappropriate length above because it is charming and unbelievable and funny.

The book has tons of sex in it: an elderly factory worker having his first gay encounter, a stripper being seduced by her on-again, off-again girlfriend, a father living with his daughter as a lover. Despite this, the personality of the stories stays unthreatening, earnest and truly likable. The characters are handled with great generosity and goodwill. A story about a woman who dreams of flying to England and aggressively seducing Prince William simply comes across as sweetly human, honest and funny.

Fans of Serious, Heavy Fiction would probably struggle to appreciate this collection, but sandwiched between my current reading list of Ernest Hemingway and Cormac McCarthy, this book felt like a perfect grace note for summer.(less)

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Jul 02, 2008

Lee rated it

3.7 stars, but I'll round down because rereading the stories that seemed five-star worthy on first read (the silent background-actor dialogue in "Mon Plaisir" and the dark shape stuff of "Making Love in 2003") felt like all the air was out of them when you knew how they'd float. Brilliant corners in all stories, and that's worth something. Also an inspiring freedom of movement, definitely, and very readable and clear. But some of these stories are like Yearning Tolerance Test...more

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Apr 18, 2009

Aimee rated it

Shelves: 2009

Q. Who dislikes this collection of stories by Miranda July?

A. The appropriate answer would be me and you and everyone we know.

Is it bad to start my first goodreads review with a joke?

Although attempting to be engaging and quirky, July comes across as trying too hard. The swimming lessons on land were a great premise. It's just that her overall execution is flawed.

At this juncture, I say avoid her books and place her movies in your Netflix...more

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Jan 17, 2009

Iris rated it

This collection of short stories is twisted and beautiful. I fell in love first with the title, and wanted (still want) to frame the cover of the book for my wall. The video on Ms. July's website of her writing all over kitchen surfaces is lovely.

There is a risk, especially in today's hipster climate, of creators getting bigger than their work, becoming a brand, or a status. And, of course, once a certain quota of people have heard of said creator in the scene, say, anyone who isn't ...more

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Dec 13, 2011

Emma Bolden rated it

I did not want to read this book. No, I take that back: I flatly refused to read this book, no matter how many people told me it was fantastic and mind-blowing and awesome and awestastic. And then I ran into a copy very much on sale at a local bookstore. Here's what was happening in my mind at the time: Oh HI. I'm Miranda July. I'm so pretty and awesome and privileged and famous and everyone loooooves me sooooooooo much and I get to go to fabulous parties and hang out with the brunette girl...more

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Jan 05, 2009

Josh rated it

I have decided that eight out of the sixteen stories in this little yellow collection are really good. And before you think I'm being harsh, let me say this: Those eight are GENIUS. July is great writer with the ability to bend language and her prose seems to speed-up and slow down at the same time. "The Sister" and "I Paint a Door" are some of the best stories I've read in years. "Making Love in 2003" is fantastic, as is "How to Tell Stories to Children."...more

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Dec 29, 2011

Kelly rated it

Shelves: short-story-collection, lit, kindle, depressing, dramatic, fiction, cutting_for_pleasure

Much to my own surprise, even I have a limit of how much emotional cutting I'm willing to partake in for the possibility of transcendental illumination. In fact, not only did I discover I had a limit, but I think Ms. July may have actually cured me. Hallelujah!!

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Jul 02, 2011

Hannah Eiseman-Renyard rated it

Recommends it for: Depressive teenage oddballs, those in unrequited love

Recommended to Hannah by: my housemate

Shelves: avoid-this, didn-t-finish-it, i-don-t-get-it

Icky ew.

My housemate recommended this with 'this is so sweet, it will restore your faith in humanity'. I am now reconsidering how much I like my housemate, and will never rely on her for a character reference.

I've read about half of the short stories in this book, and I don't want to read any more. Every short story is a first-person narrative from someone who is desperate, odd, lonely, delusional, and slightly creepy. From the person so in love with her neighbour that she l...more

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Jun 12, 2008

Adrianne Mathiowetz rated it

· review of another edition

I love many of these stories for the same reasons I dislike others: a surreal, distanced narrative, startling plot turns, unexpected sexuality (between friends, sisters, ghost blob rapists -- what?), and the occasional, perfectly placed line: la. When it works, it's an epiphany in originality, a "how did she even think of that", meaningful and lovely. When it doesn't work, all of the above elements seem forced, formulaic, churned through the quirk machine.

July is at her be...moreI love many of these stories for the same reasons I dislike others: a surreal, distanced narrative, startling plot turns, unexpected sexuality (between friends, sisters, ghost blob rapists -- what?), and the occasional, perfectly placed line: la. When it works, it's an epiphany in originality, a "how did she even think of that", meaningful and lovely. When it doesn't work, all of the above elements seem forced, formulaic, churned through the quirk machine.

July is at her best when the oddity is just under the surface: I loved "The Man on the Stairs" (there is an intruder in a couple's home late at night -- or, maybe not), "Something That Needs Nothing" (two teenage girls run away together and struggle to pay the rent, dabbling in the sex industry), Mon Plaisir (a couple constructs a new relationship around their roles as extras in a film), and Birthmark (a birthmark is removed, then reappears). And all of her stories have amazing first sentences. You could teach a creative writing class, having students write new stories from those beginnings.

But everything that is discouraging about the kind of fiction that gets published today is embodied in "The Swim Team". A young woman mysteriously relocates to a small town in the middle of nowhere, depressed, silent and unemployed: after an odd outburst in a convenience store (letting everyone know that you can't breathe underwater), she winds up teaching swim lessons to its senior citizens. Only, there aren't any bodies of water in this town. So she teaches the lessons in her kitchen, having the old folks push themselves across the linoleum floor, pressing their faces into bowls filled with saltwater. "Isn't this odd?" the story kept crying. "Now it's getting odder! Wait, what significance does all of this have, again? Never mind, more oddness!"

Some favorite lines:

"To my horror, I felt hunger. The body's expression of hope."

"We were always getting away with something, which implied that someone was always watching us, which meant we were not alone in this world."

"I hated my job, but I liked that I could do it. I had once believed in a precious inner self, but now I didn't. I had thought that I was fragile, but I wasn't. It was like suddenly being good at sports."

"She marveled at this, and I laughed and said, Life is easy. What I meant was, Life is easy with you here, and when you leave, it will be hard again."

"Inelegantly and without my consent, time passed."
(less)

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Mar 27, 2008

Ashlea rated it

A quirky, lovely quick read- definitely recommended.*

July is great at mimicing on paper the ramblings inside a person's head, so much of which is absurd or silly, but which occasionally stumbles onto something profound and true. To make it more impressive, she manages to do this and keep the stories concise at the same time; while admittedly most of the characters come to assume similar voices, she nonetheless creates complex, unique narratives in often fewer than ten pages. (As a r...more

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Sep 10, 2007

Eli rated it

I loved July's film Me and You and Everyone We Know more than any film I'd seen in a very long time. I was not terribly familiar with her work otherwise and only cursorily looked into some of it, mainly the web projects such as Learning to Love You More, which I think is wonderful. So I had some pretty high expectations on this collection, and I have to say I was a little disappointed. For as varied as the narrators/characters in the stories are, the voice is pretty much always the same. It's ve...more

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Whimsy, yes, vision, maybe	4	89	Jan 20, 2012 04:16am
What's The Name o...: SOLVED- adult fiction- bright yellow/hot pink cover, a collection of short stories. [s]	4	26	Sep 19, 2011 05:34pm
Quote, page 75	4	39	Jun 30, 2011 11:37pm

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About Miranda July

"Miranda July (born February 15, 1974) is a performance artist, musician, writer, actress and film director. She currently resides in Los Angeles, California, after having lived for many years in Portland, Oregon. Born Miranda Jennifer Grossinger, she works under the surname of "July," which can be traced to a character from a "girlzine" Miranda created with a high school ...more

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