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&ldquo;The kind of book, and the kind of human, you&rsquo;d want to guide you through the past few decades in letters and culture. . . . Moore is one of our best documentarians of everyday amazement.&rdquo; &mdash;The New Yorker&ldquo;Excellent. . . . Shining. . . . [This] book flooded my veins with pleasure.&rdquo; &mdash;Dwight Garner, The New York Times&ldquo;Moore&rsquo;s incisive, often mordant yet exhilarating pieces illuminate the trajectory of a literary artist&rsquo;s aesthetic evolution, and enhance an understanding of her fiction.&rdquo; &mdash;Claire Messud, The Guardian  &ldquo;Impressive. . . . Her wicked wit is demonstrated by the opening sentence. . . . What sustains overall this group of essays and commentary is a continuous critical spirit that stays in touch with life.&rdquo; &mdash;William H. Pritchard, The Wall Street Journal &ldquo;One of our finest fiction writers considers the work of her fellow artists. . . . [An] agile, funny, and sage take on literature and culture.&rdquo; &mdash;O, The Oprah Magazine  &ldquo;Captivating . . . . Nuanced and polished. . . . I found myself nestling into the book the way one does with the most gripping of novels.&rdquo; &mdash;Daphne Merkin, The New York Times Book Review  &ldquo;Moore&rsquo;s writing sings at the atomic level. . . . One comes to this book not to find out what one should think, or even what Moore thinks, about Don DeLillo or Anais Nin or Alice Munro; the questions one can answer here are, instead, why one might care about them, and how a book or a story or a sentence might offer safety, companionship, sight.&rdquo; &mdash;The New Republic &ldquo;A testament to the breadth of Moore's intellect. . . . &lsquo;One must throw all that one is into language,&rsquo; she writes, &lsquo;like a Christmas tree hurled into a pool.&rsquo;. . . See What Can Be Done is not only a call to that ideal, but a fulfillment of it.&rdquo; &mdash;The Christian Science Monitor &ldquo;Whip-smart and thought-provoking.&rdquo; &mdash;Elle &ldquo;Engrossing enough to read straight through. . . . Moore&rsquo;s interest in fully revealing each work she discusses becomes a kind of guiding spirit. . . . Sublimely generous. . . . Embrace[s] elegance.&rdquo; &mdash;Commonweal  &ldquo;[A] brilliant and piercing collection. . . . She fearlessly tells the truth about hard things.&rdquo; &mdash;Minneapolis Star Tribune  &ldquo;Sharply observed and gorgeously written. . . . Moore isn&rsquo;t afraid to take a stand. . . . Moore places a premium in these pieces on the &lsquo;resilience&rsquo; demonstrated by some of her subjects.&#160; Let&rsquo;s hope she continues to exhibit the same, giving us more of the short stories for which she&rsquo;s renowned&mdash;and the essays for which she should be.&rdquo; &mdash;Milwaukee Journal Sentinel &ldquo;Arresting. . . . Excellent. . . . Incisive, wide-ranging. . . . Marvelously nuanced.&rdquo; &mdash;The Observer (London) &ldquo;This collection of 60 lucid and erudite cultural essays by the award-winning fiction writer is a treasure.&rdquo; &mdash;BBC.com &ldquo;Lorrie Moore&rsquo;s essays are brilliantly written, brimming with energy. . . . A generous reader of other writers, Moore is always smart, never snooty, and as in her novels and short stories, there&rsquo;s a bold streak of humour.&rdquo; &mdash;The Irish Times

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The Story of the Rome, Watertown, and Ogdensburg Railroad

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