I think I am done with this one, at least for now. I've read the first 5 out of 14 stories (132 pages) and am finding it a drag, though I loved The Known World years ago and later on liked Lost in the City. The going felt slow, and the stories felt cluttered and sometimes confusing. Not all readers will share my short story preferences - I like them to be streamlined and to end with a bang - but that didn't really fit with these stories, which tend to meander along with two or three subplots that often don't reach any resolution or have much to do with the main plot. They're well-written and I'd hardly say they were objectively bad, but I'm not feeling it right now.
Some commentary on the individual stories, because I always want to see more of that in reviews of collections:
"In the Blink of God's Eye" - a young couple moves from Virginia to D.C. at the beginning of the 20th century, and begins to grow apart after she adopts a baby abandoned in their yard. I liked this one, though I felt it was a little padded out with the stories of secondary characters.
"Spanish in the Morning" - a young girl starts at Catholic school and skips ahead to first grade. The ending of this one baffled me.
She falls at her desk when standing up and thinking about how she's not happy about the treatment of a couple of other students, and then we rejoin her in bed at home with a wound in her hand and her family saying she doesn't have to return to that school. I couldn't tell whether she'd had a seizure or medical episode - which would make sense practically but not thematically and wouldn't explain the wound - or whether she spoke up and the teacher stabbed her in the hand, fitting in with a story an older relative told her earlier about a teacher who had a pitchfork like the Devil. Which would make sense thematically but is bizarre.
"Resurrecting Methuselah" - an American soldier in Korea is diagnosed with breast cancer, and his wife decides to leave him. In this one it was the motivations that confused me. We spend a lot of time with the wife, including a long sequence in Hawaii on the way to Korea in which she buys some candy she remembers from her childhood to find it completely different.
Then for some reason that was unclear to me, she immediately gives up on visiting her husband and flies home instead. My guess is that, having spent her adolescence as an invalid, she wasn't willing to have sickness in her house or around her daughter. But what does the candy have to do with it?
"Old Boys, Old Girls" - a young man is imprisoned for the second of two murders he's committed, does his time, and once on the outside, has to figure out how his family and an old lover fit into his life. I liked this one, which is interesting and doesn't have room for random subplots.
"All Aunt Hagar's Children" - a Korean war vet wants to head out to Alaska to pan for gold, but the older women of his family ask him to look into the murder of one of their sons instead, and he does. This was interesting but the end unconvincing.
He sees the murdered man's wife strike a powerful pose and concludes that she was the murderer, although there are plenty of other suspects.
And this one too grew weeds: it spends a lot of time on a stranger who died in front of the narrator getting off a streetcar, which does nothing in the story other than to haunt him, and I didn't believe for a minute that he somehow memorized her last words when they were full sentences in a language he didn't speak. Strings of unfamiliar words are unmemorable gibberish to me, and I'm good at foreign languages.
At any rate, I'm certainly not denying that there's merit here, but this wasn't the right time for this book, so it's heading back to the library.