Evening in Paradise is the second posthumously-published collection of short stories by the American writer Lucia Berlin. The book collects twenty-two stories originally published between 1981 and 1999. Most of the stories center around a semi-autobiographical version of Berlin herself. Like the excellent compendium A Manual for Cleaning Women which preceded it, Evening in Paradise is crammed with life. These stories teem with electric energy—even when their immediate subject matters might seem banal on the surface. Evening in Paradise shows an artist shaping the events of her life, big and small, wild and tragic, sharp and dull, into an impressionistic and urgent patchwork of tales that add up to a fictional memoir of sorts. As Berlin’s eldest son Mark Berlin noted in a 2005 essay on his mother (which serves as an introduction to Evening in Paradise),
Ma wrote true stories; not necessarily autobiographical, but close enough for horseshoes. Our family stories and memories have been slowly reshaped, embellished and edited to the extent that I’m not sure what really happened all the time. Lucia said this didn’t matter: the story is the thing.
The first stories in the collection feel sharply autobiographical. Both “The Musical Vanity Boxes” and “Sometimes in the Summer” are told by a first-person narrator named “Lucia” who details the small adventures of her childhood early 1940s in El Paso, Texas. Lucia and her friend slip over borders of all sorts, passing not only into Juarez, but also into a more complicated version of themselves as they mature. There’s a subtle menace rumbling under these stories. A mature Berlin looks back, knows what her girl protagonist does not yet know about the world and its dark joys and sinister terrors. The writer shows us a narrator gazing on life’s bright lights, even as she—the writer—draws our attention to the edge of those lights, to the threatening shadows on the margin.
Like A Manual for Cleaning Women, the stories in Evening in Paradise follow an arc of maturation—they are organized not chronologically by dates of composition or publication, but organized rather around the age of the central protagonist, the Berlin stand-in.
We find this protagonist simultaneously struggling and thriving in her teenage years. “Anando: A Gothic Romance” lives up to its subtitle. Set in Chile in an ex-pat community, “Andado” features a version of Berlin’s own teenage family—the father, a somewhat-absent mining engineer; the mother a depressed alcoholic. It’s no wonder then that our hero “Laura” is so easily seduced — “ruined” — by an older man. In one telling aside, the third-person narrator assesses a subtle moment of the seduction from the distance of time:
She was simply enveloped.
This would never happen to her again. When she grew older she would always be in control, even when being submissive. This would be the first and the last time anyone took over herself.
In “Itinerary,” another fictionalized-version of Berlin departs Chile for college in New Mexico. She leaves on her own, taking a series of planes and being greeted by a series of hosts, each of which reveals, inadvertently, something about her family which she had not previously seen, something that would be obvious though to any mature eyes settling on the family with objective distance. Berlin’s first-person narrator never quite names what is revealed to her; instead, she takes us up to the moment where we see her seeing what she has previously been blind to, yet still does not quite have the language to name. The final lines of “Itinerary” are a sort of negative epiphany:
It was sunset as we circled Albuquerque. The Sandias and the miles of rocky desert were a deep coral pink. I felt old. Not grown up, but the way I do now. That there was so much I did not see or understand, and now it is too late. The air was cold in New Mexico. No one met me.
The middle section of Evening in Paradise gives way to a series of stories focusing on young wives and young mothers different iterations of Berlin in the fifties. “Lead Street, Albuquerque” is particularly fascinating. Here, Berlin splits the material of her life into two different characters—the narrator, a somewhat hapless housewife who’s relegated to washing the dishes while her artist-husband and his artist-friends chat about hepcat stuff—and “Maria” — “seventeen, American, but grew up in South America, acts foreign, shy. English major.” A mature narrator looks back, half-mockingly and half-lovingly, at an ingénue-muse version of herself, the pair framed in the same tale. And our narrator turns toward her own life in the same attitude in turn:
Is there a word opposite of déjà vu? Or a word to describe how I saw my whole future flash before my eyes? I saw that I’d stay at the Albuquerque National Bank and Bernie would get his doctorate and keep on painting bad paintings and making muddy pottery and would get tenure. We would have two daughters and one would a dentist and the other a cocaine addict. Well, of course I didn’t know all that, but I saw how things would be hard. And I knew that years and years from then Bernie would probably leave me for one of his students and I’d be devastated but then would go back to school and when I was fifty I’d finally do things I wanted to do, but I would be tired.
The push-pull of artistic ambition against domestic life’s constraints ripple through these middle stories, where women raise kids and clean houses while men pursue their muses—writing, jazz, painting. There are small resentments and sordid affairs, banal routines and burgeoning substance abuse problems. Threaded through these stories is a common theme though, summed up in the last line of “Cherry Blossom Time,” when the hero Cassandra addresses her husband: “David. Please talk to me.”
The collection’s title story marks a shift in the trajectory of the Berlinverse, and stands out as a bit of an oddity. “Evening in Paradise” is the only piece here that doesn’t feature a straightforward Berlin stand-in; indeed, the story doesn’t have a strong central persona at all. Rather, “Evening” plays like a series of elegiac vignettes centered around the Oceano hotel–notably its bar—in Puerto Vallarta, Mexico. It’s 1963 and cast and crew of The Night of the Iguana are causing a ruckus in the small fishing town, drinking heavily, taking up with beach gigolos, smoking reefers—and even shooting heroin and snorting coke. Richard Burton and Elizabeth Taylor burst in and out; Ava Gardner looms larger than life. Director John Huston sits in the bar’s corner, drinking homemade mescal from a mayonnaise jar. There’s scheming and screaming, and generally famous times—but, like the title declares, the scene announces the end of an era.
“Evening in Paradise,” without a Berlin-protagonist, resets the stage, moving us to Mexico for a while, and introducing heroin as a major trope. In the next tale, “La Barca de la Ilusion,” Maya and her husband Buzz move to Yelapa (in Jalisco, Mexico) so that Buzz can kick heroin. “La Barca” is a standout in the collection, a slow burn of a tale, but one packed with lifetimes of storytelling. Buzz, born to a wealthy Boston family, drops out of Harvard to play saxophone in jazz clubs. He marries an heiress named Circe (I know, right?), starts a Volkswagen franchise, becomes a millionaire, has an affair with Maya, divorces Circe, etc. The problem remains though: “Heroin is easy to hide if you are rich, because you always have it.” That problem transgresses the paradise of Yalapa in the form of Victor, a menacing drug dealer who’s had his hooks in Buzz for years. Victor is a creature from the shadows, the sinister specter that haunted the background of the earlier tales of Evening in Paradise finally made manifest. I won’t spoil the rest of the story, but it swells to a startling, cinematic climax.
Characters like Victor and Buzz and Circe show up in different iterations in successive stories, like “My Life Is an Open Book” and “The Wives,” before Evening in Paradise gives over to Berlin’s Oakland years. Stories like “Noël, 1974” feature Berlin’s sons—excuse me, Berlin’s stand-in’s sons. These stories also feature her alter-ego’s high-functioning alcoholism. (Again, features that will be familiar to fans of the stories in A Manual for Cleaning Women).
The one-pager “The Pony Bar, Oakland” serves as something of a summary of the material that preceded it, delivered in Berlin’s economical prose. “There are certain perfect particular sounds. A tennis ball, a golf ball hit just right….Pool is erotic any way you look at it” the narrator begins, perched on a bar stool, as the sounds of billiards take her back in time to a cricket match in Chile:
Cricket in Santiago. Red parasols, green grass, white Andes. Red and white striped canvas chairs at the Prince of Wales Country Club. I signed chits for lemonade, tipped the tuxedoed waiters, applauded John Wells. Perfect crack of the cricket bat. I wore white, was careful of the grass stains, flirted with the boys who wore Grange school gray flannels, blue blazers in summertime. Cucumber sandwiches with tea, plans for Sunday at Viña del Mar.
The narrator remarks that she felt like an alien in that privileged childhood, just as she feels like an alien here at the Pony Bar in Oakland, sitting next to a tattooed biker. Berlin—or hey, sorry, Berlin’s stand-in—is never at home, but also at home every where. The tale ends as she glances at the hinges tattooed on the biker’s wrists, elbows, knees. The story ends in a wry punchline:
“You need a hinge on your neck,” I said.
“You need a screw up your ass.”
The smoky bar reverberating with the erotic sounds of pool transmutes into expatriate pastimes and then lands back into unglamorous Oakland, to culminate in a dirty joke. “Pony Bar, Oakland” condenses Evening in Paradise’s themes of memory, sensation, and life into a spare but evocative tale.
Later stories, like “Our Brother’s Keeper,” “Lost in the Louvre,” and “Luna Nueva” work in much the same way, filling a few slim pages with full fat life. These late stories are reflective and fully mature—still questioning and questing, but also shining with a strange peace, a strange reconciling to the sinister forces that vibrate under life’s vivid contours of family, work, culture, persona. I’ll confess that there’s something in these stories that I don’t fully appreciate—something beyond my forty years, something that their narrators see that I don’t maybe—maybe not yet, maybe not ever. But I’ll be happy to revisit them—and Berlin’s work in general—in years to come. Highly recommended.