Three forgettable stories from the famed dramatist. Characterization throughout is thin and unpersuasive, the prose serviceable at best--at worst, Miller deadpans entire romances (the title story in particular) and is too dim to see the edifice he's built, as if he's afraid of cynicism's tinge. And the other two stories ("Fame" and "Fitter's Night") have the same ending, which rests on a complacent faith in the redeeming power of human contact. And yet. ( )