Thirteen darkly comic stories, Dangerous Laughter is a mesmerizing journey that stretches the boundaries of the ordinary world.
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Steven Millhauser's first novel, Edwin Mullhouse: The Life and Death of an American Writer, was published in 1972 and several years later received the Prix Médicis Étranger in France. Since then he has published nine works of fiction, among them several collections of stories and novellas, as well as the novel Martin Dressler: The Tale of an American Dreamer, which won the Pulitzer Prize in 1997. He is also a recipient of the Lannan Award and has been honored by the American Academy of Arts and Letters. His story "Eisenheim the Illusionist," from The Barnum Museum, was the basis of the film The Illusionist (2006), starring Edward Norton and Paul Giamatti. Millhauser's work has been translated into fourteen languages. He is a Professor of English at Skidmore College, and lives in Saratoga Springs, New York.Excerpt. © Reprinted by permission. All rights reserved.:
Cat ’n’ mouse
The cat is chasing the mouse through the kitchen: between the blue chair legs, over the tabletop with its red-and-white-checkered tablecloth that is already sliding in great waves, past the sugar bowl falling to the left and the cream jug falling to the right, over the blue chair back, down the chair legs, across the waxed and butter-yellow floor. The cat and the mouse lean backward and try to stop on the slippery wax, which shows their flawless reflections. Sparks shoot from their heels, but it’s much too late: the big door looms. The mouse crashes through, leaving a mouse-shaped hole. The cat crashes through, replacing the mouse-shaped hole with a larger, cat-shaped hole. In the living room they race over the back of the couch, across the piano keys (delicate mouse tune, crash of cat chords), along the blue rug. The fleeing mouse snatches a glance over his shoulder, and when he looks forward again he sees the floor lamp coming closer and closer. Impossible to stop—at the last moment he splits in half and rejoins himself on the other side. Behind him the rushing cat fails to split in half and crashes into the lamp: his head and body push the brass pole into the shape of a trombone. For a moment the cat hangs sideways there, his stiff legs shaking like the clapper of a bell. Then he pulls free and rushes after the mouse, who turns and darts into a mousehole in the baseboard. The cat crashes into the wall and folds up like an accordion. Slowly he unfolds, emitting accordion music. He lies on the floor with his chin on his upraised paw, one eyebrow lifted high in disgust, the claws of his other forepaw tapping the floorboards. A small piece of plaster drops on his head. He raises an outraged eye. A framed painting falls heavily on his head, which plunges out of sight between his shoulders. The painting shows a green tree with bright red apples. The cat’s head struggles to rise, then pops up with the sound of a yanked cork, lifting the picture. Apples fall from the tree and land with a thump on the grass. The cat shudders, winces. A final apple falls. Slowly it rolls toward the frame, drops over the edge, and lands on the cat’s head. In the cat’s eyes, cash registers ring up NO SALE.
The mouse, dressed in a bathrobe and slippers, is sitting in his plump armchair, reading a book. He is tall and slim. His feet rest on a hassock, and a pair of spectacles rest on the end of his long, whiskered nose. Yellow light from a table lamp pours onto the book and dimly illuminates the cozy brown room. On the wall hang a tilted sampler bearing the words HOME SWEET HOME, an oval photograph of the mouse’s mother with her gray hair in a bun, and a reproduction of Seurat’s Sunday Afternoon in which all the figures are mice. Near the armchair is a bookcase filled with books, with several titles visible: Martin Cheddarwit, Gouda’s Faust, The Memoirs of Anthony Edam, A History of the Medicheese, the sonnets of Shakespaw. As the mouse reads his book, he reaches without looking toward a dish on the table. The dish is empty: his fingers tap about inside it. The mouse rises and goes over to the cupboard, which is empty except for a tin box with the word CHEESE on it. He opens the box and turns it upside down. Into his palm drops a single toothpick. He gives it a melancholy look. Shaking his head, he returns to his chair and takes up his book. In a bubble above his head a picture appears: he is seated at a long table covered with a white tablecloth. He is holding a fork upright in one fist and a knife upright in the other. A mouse butler dressed in tails sets before him a piece of cheese the size of a wedding cake.
From the mousehole emerges a red telescope. The lens looks to the left, then to the right. A hand issues from the end of the telescope and beckons the mouse forward. The mouse steps from the mousehole, collapses the telescope, and thrusts it into his bathrobe pocket. In the moonlit room he tiptoes carefully, lifting his legs very high, over to the base of the armchair. He dives under the chair and peeks out through the fringe. He emerges from beneath the armchair, slinks over to the couch, and dives under. He peeks out through the fringe. He emerges from beneath the couch and approaches the slightly open kitchen door. He stands flat against the doorjamb, facing the living room, his eyes darting left and right. One leg tiptoes delicately around the jamb. His stretched body snaps after it like a rubber band. In the kitchen he creeps to a moonlit chair, stands pressed against a chair leg, begins to climb. His nose rises over the tabletop: he sees a cream pitcher, a gleaming knife, a looming pepper mill. On a breadboard sits a wedge of cheese. The mouse, hunching his shoulders, tiptoes up to the cheese. From a pocket of his robe he removes a white handkerchief that he ties around his neck. He bends over the cheese, half closing his eyes, as if he were sniffing a flower. With a crashing sound the cat springs onto the table. As he chases the mouse, the tablecloth bunches in waves, the sugar bowl topples, and waterfalls of sugar spill to the floor. An olive from a fallen cocktail glass rolls across the table, knocking into a cup, a saltshaker, a trivet: the objects light up and cause bells to ring, as in a pinball machine. On the floor a brigade of ants is gathering the sugar: one ant catches the falling grains in a bucket, which he dumps into the bucket of a second ant, who dumps the sugar into the bucket of a third ant, all the way across the room, until the last ant dumps it into a waiting truck. The cat chases the mouse over the blue chair back, down the chair legs, across the waxed floor. Both lean backward and try to stop as the big door comes closer and closer.
The mouse is sitting in his armchair with his chin in his hand, looking off into the distance with a melancholy expression. He is thoughtful by temperament, and he is distressed at the necessity of interrupting his meditations for the daily search for food. The search is wearying and absurd in itself, but is made unbearable by the presence of the brutish cat. The mouse’s disdain for the cat is precise and abundant: he loathes the soft, heavy paws with their hidden hooks, the glinting teeth, the hot, fish-stinking breath. At the same time, he confesses to himself a secret admiration for the cat’s coarse energy and simplicity. It appears that the cat has no other aim in life than to catch the mouse. Although the faculty of astonishment is not highly developed in the mouse, he is constantly astonished by the cat’s unremitting enmity. This makes the cat dangerous, despite his stupidity, for the mouse recognizes that he himself has long periods when the cat fades entirely from his mind. Moreover, despite the fundamental simplicity of the cat’s nature, it remains true that the cat is cunning: he plots tirelessly against the mouse, and his ludicrous wiles require in the mouse an alert attention that he would prefer not to give. The mouse is aware of the temptation of indifference; he must continually exert himself to be wary. He feels that he is exhausting his nerves and harming his spirit by attending to the cat; at the same time, he realizes that his attention is at best imperfect, and that the cat is thinking uninterruptedly, with boundless energy, of him. If only the mouse could stay in his hole, he would be happy, but he cannot stay in his hole, because of the need to find cheese. It is not a situation calculated to produce the peace of mind conducive to contemplation.
• • •
The cat is standing in front of the mousehole with a hammer in one hand and a saw in the other. Beside him rests a pile of yellow boards and a big bag of nails. He begins furiously hammering and sawing, moving across the room in a cloud of dust that conceals him. Suddenly the dust clears and the cat beholds his work: a long, twisting pathway that begins at the mousehole and passes under the couch, over the back of the armchair, across the piano, through the kitchen door, and onto the kitchen table. On the tablecloth, at the end of the pathway, is a large mousetrap on which sits a lump of cheese. The cat tiptoes over to the refrigerator, vanishes behind it, and slyly thrusts out his head: his eyes dart left and right. There is the sound of a bicycle bell: ring ring. A moment later the mouse appears, pedaling fiercely. He speeds from the end of the pathway onto the table. As he screeches to a stop, the round wheels stretch out of shape and then become round again. The mouse is wearing riding goggles, a riding cap, and gloves. He leans his bicycle against the sugar bowl, steps over to the mousetrap, and looks at it with interest. He steps onto the mousetrap, sits down on the brass bar, and puts on a white bib. From a pocket of his leather jacket he removes a knife and fork. He eats the cheese swiftly. After his meal, he replaces the knife and fork in his pocket and begins to play on the mousetrap. He swings on a high bar, hangs upside down by his legs, walks the parallel bars, performs gymnastic stunts. Then he climbs onto his bicycle and disappears along the pathway, ringing his bell. The cat emerges from behind the refrigerator and springs onto the table beside the mousetrap. He frowns down at the trap. From the top of his head he plucks a single hair: it comes loose with the sound of a snapping violin string. Slowly he lowers the hair toward the mousetrap. The hair touches the spring. The mousetrap remains motionless. He presses the spring with a spoon. The mousetrap remains motionless. He bangs the spring with a sledgehammer. The mousetrap remains motionless. He looks at the trap with rage. Cautiously he reaches out a single toe. The mousetrap springs shut with the sound of a slammed iron door. The cat hops about the table holding his trapped foot as the toe swells to the size of a lightbulb, bright red.
The cat enters on the left, disguised as a mouse. He is wearing a blond wig, a nose mask, and a tight black dress slit to the thigh. He has high and very round breasts, a tiny waist, and round, rolling hips. His lips are bright red, and his black lashes are so tightly curled that when he blinks his eyes the lashes roll out and snap back like window shades. He walks slowly and seductively, resting one hand on a hip and one hand on his blond hair. The mouse is standing in the mousehole, leaning against one side with his hands in his pockets. His eyes protrude from their sockets in the shape of telescopes. In the lens of each telescope is a thumping heart. Slowly, as if mesmerized, the mouse sleepwalks into the room. The cat places a needle on a record, and rumba music begins to play. The cat dances with his hands clasped behind his neck, thrusting out each hip, fluttering his long lashes, turning to face the other way: in the tight black dress, his twitching backside is shaped like the ace of spades. The mouse faces the cat and begins to dance. They stride back and forth across the room, wriggling and kicking in step. As they dance, the cat’s wig comes loose, revealing one cat ear. The cat dances over to a bearskin rug and lies down on his side. He closes his long-lashed eyes and purses his red, red lips. The mouse steps up to the cat. He reaches into his pocket, removes a cigar, and places it between the big red lips. The cat’s eyes open. They look down at the cigar, look up, and look down again. The cat removes the cigar and stares at it. The cigar explodes. When the smoke clears, the cat’s face is black. He gives a strained, very white smile. Many small lines appear in his teeth. The teeth crack into little pieces and fall out.
The cat is lying on his back in his basket in the kitchen. His hands are clasped behind his head, his left knee is raised, and his right ankle rests sideways on the raised knee. He is filled with rage at the thought of the mouse, who he knows despises him. He would like to tear the mouse to pieces, to roast him over a fire, to plunge him into a pan of burning butter. He understands that his rage is not the rage of hunger and he wonders whether the mouse himself is responsible for evoking this savagery, which burns in his chest like indigestion. He despises the mouse's physical delicacy, his weak arms thin as the teeth of combs, his frail, crushable skull, his fondness for books and solitude. At the same time, he is irritably aware that he admires the mouse's elegance, his air of culture and languor, his easy self-assurance. Why is he always reading? In a sense, the mouse intimidates the cat: in his presence, the cat feels clumsy and foolish. He thinks obsessively about the mouse and suspects with rage that the mouse frequently does not think about him at all, there in his brown room. If the mouse were less indifferent, would he burn with such hatred? Might they learn to live peacefully together in the same house? Would he be released from this pain of outrage in his heart?
The mouse is standing at his workbench, curling the eyelashes of a mechanical cat. Her long black hair is shiny as licorice; her lips look like licked candy. She is wearing a tight red dress, black fishnet stockings, and red high heels. The mouse stands the mechanical cat on her feet, unzips the back of her dress, and winds a big key. He zips up the dress and aims her toward the mousehole. In the living room, the mechanical cat struts slowly back and forth; her pointy breasts stick out like party hats. The cat’s head rises over the back of the armchair. In his eyes appear hearts pierced by arrows. He slithers over the chair and slides along the floor like honey. When he reaches the strutting cat, he glides to an upright position and stands mooning at her. His heard is thumping so hard that it pushes out the skin of his chest with each beat. The cat reaches into a pocket and removes a straw boater, which he places on his head at a rakish angle. He fastens at his throat a large polka-dot bow tie. He becomes aware of a ticking sound. He removes from his pocket a round yellow watch, places it against his hear, frowns, and returns it to his pocket. He bends close to the face of the cat and sees in each of her eyes a shiny round black bomb with a burning fuse. The cat turns to the audience and then back to the dangerous eyes. The mechanical cat blows up. When the smoke clears, the cat’s fur hangs from him in tatters, revealing his pink flesh and a pair of polka-dot boxed shorts.
Outside the mousehole, the cat is winding up a mouse that exactly resembles the real mouse. The mechanical mouse is wearing a bathrobe and slippers, stands with hands in pockets, and has a pair of eyeglasses perched at the end of its nose. The cat lifts open the top of the mouse’s head, which is attached in the manner of a hinged lid. He inserts a sizzling red stick of dynamite and closes the lid. He sets the mouse in front of the hole and watches as it vanishes through the arched opening. Inside, the mouse is sitting in his chair, reading a book. He does not raise his eyes to the visitor, who glides over with its hands in its pockets. Still reading, the mouse reaches out and lifts open the head of his double. He removes the sizzling dynamite, thrusts it into a cake, and inserts the cake into the mouse’s head. He turns the mechanical mouse around and continues reading as it walks out through the arch. The cat is squatting beside the hole with his eyes shut and his fingers pressed in his ears. He opens his eyes and sees the mouse. His eyebrows rise. He snatches up the mouse, opens its head, and lifts out a thickly frosted cake that says HAPPY BIRTHDAY. In the center of the cake is a sizzling red stick of dynamite. The cat’s fur leaps up. He takes a tremendous breath and blows out the fuse with such force that for a moment the cak...
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Book Description Vintage, 2009. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "Remarkable. . . . Not just brilliant but prescient." D. T. Max, The New York Times Book Review "Readers seeking the perfect introduction to Pulitzer Prize-winning author Steven Millhauser need look no further. . . . Dangerous Laughter draws on every facet of his imagination. . . . It''s more akin to music-making than storytelling." Michael Upchurch, The Seattle Times "Millhauser''s best story collection. . . . Every reader knows of writers who are like secrets one wants to keep yet whose books one wants to tell the world about. Steven Millhauser is mine." David Rollow, The Boston Globe "Enchanting. . . . Steven Millhauser is a marvel." Daniel Dyer, The Plain Dealer "Millhauser . . . is our most brilliant practicing romantic, for whom surface reality is merely an uninteresting illusion." Charles May, San Francisco Chronicle "[An] absorbing, impeccably imagined collection." Gregory Kirschling, Entertainment Weekly "Beautiful and profound. . . . Millhauser''s work is among the most thought-provoking I''ve ever encountered." David L. Ulin, Los Angeles Times Book Review " Dangerous Laughter groups three sets of smart, darkly obsessive stories around the themes of risk-taking, imaginary places, and ersatz biographies, all led off by a crazy cartoon cat-and-mouse slapstick drama rendered with pure cloak-and-dagger delight."Lisa Shea, Elle "Tales fueled by curiosity and wonder, from a master . . . [who] is consistently so much fun to read . . . Everything one has come to want and expect in Millhauser's fiction is herespooky attics, fantastic inventions, artists driven mad, and ambitious enterprises that become overattenuated and impossible to sustain. The result is almost a Steven Millhauser primer, a much needed fix for fans . . . and a perfect introduction for those unacquainted with his writing. . . . ['A Precursor to the Cinema' and 'The Wizard of West Orange' are] marvelous stories that make the suspension of disbelief feel like no work whatsoever . . . Millhauser has done nothing here to diminish his reputation as one of our most dazzling storytellers. 'It was said that no matter how closely you examined one of the Master's little pieces, you always discovered some further wonder,' he writes of his obsessive court miniaturist [in 'In the Reign of Harad IV']. The same could be said of Steven Millhauser."Jeff Turrentine, The Washington Post Book World "Reviewers use words like enchantment recklessly, as though it happens to us all the time. Book reviewers are especially prone to describing books as 'enchanting,' pretending that a spell has actually been cast over us. If only it were so. As often as not, it is a spell of boredom. Steven Millhauser's books are the exception. . . . ['Cat 'n' Mouse'] sounds like a 'Tom and Jerry' cartoon as written by Franz Kafka. Or Sigmund Freud. . . .[It is] indelibly vivid . . . hard-edged and bright as a plasma screen . . . In 'The Disappearance of Elaine Coleman,' a young woman disappears from inside her apartment without a trace. . . . Millhauser turns an ordinary whodunit into a tale of obscure people who slowly disappear out of apparent volition. . . . There is no more poignant note in Millhauser than this: the sense of life that has come to nothing, as we understand that Elaine Coleman has committed a metaphysical form of suicide: willing herself out of existence because in the eyes of others she has already been erased. In the most haunted story of them all, 'The Room in the Attic,' Millhauser introduces us to a high school boy whose friend's sister, Isabel, lives in an attic shut off completely from light. . . .There are few writers in America better at striking the note of longing, of missed opportunity, of life taking uncanny and unfathomable turns. The utter weirdness of the young man in a pitch black room, held rapt and immobile by the lure of an unseen and teasing young woman is the very essence of estrangemen. Bookseller Inventory # ABE_book_new_030738747X
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