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A woman known only as A lives in an unnamed American city with her roommate, B, and boyfriend, C, who wants her to join him on a reality dating show called That's My Partner! A eats mostly popsicles and oranges, watches endless amounts of television, often just for the commercials - particularly the recurring cartoon escapades of Kandy Kat, the mascot for an entirely chemical dessert - and models herself on a standard of beauty that exists only in such advertising.
From the Booker Prize-winning author of The Remains of the Day and When We Were Orphans, comes an unforgettable edge-of-your-seat mystery that is at once heartbreakingly tender and morally courageous about what it means to be human.
Ms. Freedman's high school English class writes essays in which mystical creatures resolve the greatest sociopolitical problems of our time. Students include Janice Gibbs, "a feral child with excessive eyeliner and an anti-authoritarian complex that would be interesting were it not so ill-informed", and Cody Splunk, an aspiring writer working on a time machine. Following a nervous breakdown, Ms. Freedman corresponds with Janice and Cody from an insane asylum.
In his second collection, including the iconic and much-referenced title story featured in the Academy Award-winning film Birdman, Raymond Carver establishes his reputation as one of the most celebrated short-story writers in American literature. What We Talk About When We Talk About Love is a haunting meditation on love, loss, and companionship, and finding one's way through the dark.
When Jasmine is suddenly widowed at seventeen, she seems fated to a life of quiet isolation in the small Indian village where she was born. But the force of Jasmine's desires propels her explosively into a larger, more dangerous, and ultimately more life-giving world.
This is Raymond Carver's third collection of stories, a finalist for the Pulitzer Prize, including the canonical titular story about blindness and learning to enter the very different world of another. The 12 stories in Cathedral mark a turning point in Carver's work.
A woman known only as A lives in an unnamed American city with her roommate, B, and boyfriend, C, who wants her to join him on a reality dating show called That's My Partner! A eats mostly popsicles and oranges, watches endless amounts of television, often just for the commercials - particularly the recurring cartoon escapades of Kandy Kat, the mascot for an entirely chemical dessert - and models herself on a standard of beauty that exists only in such advertising.
From the Booker Prize-winning author of The Remains of the Day and When We Were Orphans, comes an unforgettable edge-of-your-seat mystery that is at once heartbreakingly tender and morally courageous about what it means to be human.
Ms. Freedman's high school English class writes essays in which mystical creatures resolve the greatest sociopolitical problems of our time. Students include Janice Gibbs, "a feral child with excessive eyeliner and an anti-authoritarian complex that would be interesting were it not so ill-informed", and Cody Splunk, an aspiring writer working on a time machine. Following a nervous breakdown, Ms. Freedman corresponds with Janice and Cody from an insane asylum.
In his second collection, including the iconic and much-referenced title story featured in the Academy Award-winning film Birdman, Raymond Carver establishes his reputation as one of the most celebrated short-story writers in American literature. What We Talk About When We Talk About Love is a haunting meditation on love, loss, and companionship, and finding one's way through the dark.
When Jasmine is suddenly widowed at seventeen, she seems fated to a life of quiet isolation in the small Indian village where she was born. But the force of Jasmine's desires propels her explosively into a larger, more dangerous, and ultimately more life-giving world.
This is Raymond Carver's third collection of stories, a finalist for the Pulitzer Prize, including the canonical titular story about blindness and learning to enter the very different world of another. The 12 stories in Cathedral mark a turning point in Carver's work.
At a cafe table in Lahore, a bearded Pakistani man converses with a suspicious, and possibly armed, American stranger. As dusk deepens to night, he begins the tale that has brought them to this fateful meeting. Changez is living an immigrant's dream of America. At the top of his class at Princeton, he is snapped up by Underwood Samson, an elite investment firm. He thrives on the energy of New York. But in the wake of September 11, he finds his position in his adopted city suddenly overturned.
The Christmas season offers little cheer for Eileen Dunlop, an unassuming yet disturbed young woman trapped between her role as her alcoholic father's caretaker in a home whose squalor is the talk of the neighborhood and a day job as a secretary at the boys' prison, filled with its own quotidian horrors. Consumed by resentment and self-loathing, Eileen tempers her dreary days with perverse fantasies and dreams of escaping to the big city.
In the collection's marvelous title story, two aging vampires in a sun-drenched Italian lemon grove find their hundred-year marriage tested when one of them develops a fear of flying. In "The Seagull Army Descends on Strong Beach, 1979", a dejected teenager discovers that the universe is communicating with him through talismanic objects left in a seagull's nest. "Proving Up" and "The Graveless Doll of Eric Mutis" find Russell veering into more sinister territory.
When Hisham Matar was a 19-year-old university student in England, his father was kidnapped. One of the Qaddafi regime's most prominent opponents in exile, he was held in a secret prison in Libya. Hisham would never see him again. But he never gave up hope that his father might still be alive. "Hope," as he writes, "is cunning and persistent." Twenty-two years later, after the fall of Qaddafi, the prison cells were empty, and there was no sign of Jaballa Matar. Hisham returned with his mother and wife to the homeland he never thought he'd go back to again.
Italo Calvino imagines a novel capable of endless mutations in this intricately crafted story about writing and readers. If on a Winter's Night a Traveler turns out to be not one novel but 10, each with a different plot, style, ambience, and author, and each interrupted at a moment of suspense. Together they form a labyrinth of literatures, known and unknown, alive and extinct, through which two readers, a male and a female, pursue both the story lines that intrigue them and one another.
From his 1935 debut with "The Universal History of Iniquity", through his immensely influential collections Ficciones and The Aleph, these enigmatic, elaborate, imaginative inventions display Borges' talent for turning fiction on its head by playing with form and genre and toying with language.
In this acclaimed collection of short stories, Pulitzer Prizewinning author Stephen Millhauser shares the dark suspense and humor that have gained him a cult following. Millhauser’s imagination and creativity are on full display with stories featuring artists gone mad, egomaniacal architects, and a historical society that’s given up its chronicling of history. Characterized by “phenomenal clarity and rapacious movement” each story “focuses on the misery wrought by misdirected human desire and ambition.” (Publishers Weekly)
Millhauser does lovely work with words and sentences, but the stories are odd. Like the art of Hieronymus Bosch, the stories are intricate, novel, loving constructs, consistent within themselves, but mostly didn't (like Bosch) create a world I could get into.
The first story is typical. M. tells the story of a cat/mouse cartoon. The natural medium for that story was a cartoon on film or TV. IMO, he didn't add anything by doing it all in words beyond showing that one could.
Another was about a man who made miniatures. Beautifully done, but I found the story itself hard to stay with, and if there was a deeper meaning I didn't find it worth the effort to understand.
MIne may be a personal, idiosyncratic disappointment, but I prefer more true-to-life stories like Englander's "What We Talk About When We Talk About Ann Frank," my idea of masterwork. Or, staying with story collections, Jennifer Egan's "Goon Squad."
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