In her collection Bark, you can also read ‘Referential’, a beautiful modulation of Nabokov’s ‘Symbols & Signs’ with some accidentals thrown in. Remember when we used to do our barking in real life and not on Twitter? Moore captures the dinner-party barking perfectly in another story from the same collection, ‘Foes’, which was originally printed on the eve of the 2008 US election. Like all the stories I’ve listed, the author draws attention to the irresistibility of hierarchisation. It’s as if we shouldn’t just be born with a ribcage and skin, but also a me-shaped box, labelled to save time. This story is also reminiscent of the lethargy that sets in at around 35 when you simply don’t want to talk to anyone you don’t know anymore in social settings. Age does not bring clarity to either interlocutor. ‘Foes’ is one of the most vivid portrayals of how artists and creative types are generally treated at public functions, which is to say that they are usually invited there to be performing monkeys. I guess the thought being that if you earn very little money, the least you could do is be very interesting. This story is also fantastic at capturing what it was like to live during the George W. Bush era, where trauma didn’t seem to be an opportunity for transformation, rather cementation.
First published in The Guardian, 2008. Collected in Bark, 2014