The facts are engaging enough as a history, but Alizadeh’s portrait of a young women in love, coupled with his exploration of the patriarchal, uncertain nature of both historical account and memory (“Or does she?”) takes this story to a new level. Alizadeh’s Jeanne allows for the contradictions in the varied voices that are both inside and outside of his subject and also calls attention to the fact that narrative is something that is constructed rather than something inherent.
With great writing skill Brian Falkner uses simple but effective language to continue the exploration of human emotions throughout the book. Some of his stories are sad, some quite dark and one or two almost funny but at the turn of each page the reader feels a tugging of the heartstrings, or worse, something delving into the mind stirring up those repressed feelings that nobody wants to talk about.
As has become something of a trademark for Laguna, Justine’s voice forms the narrative backdrop for the book. It’s an extraordinary combination of naïve, descriptive, and poetically dense, driving the reader through a story often harrowing and dark, but always with a sense of discovery.
Dimitris Lyacos’ Z213: EXIT is a revelation. A masterpiece. Distinctly postmodern yet entirely unclassifiable, it is everything and nothing all at once. Despite the myriad references to literature, it is entirely new – I have never read anything like it, and this stunning translation is truly head-spinning.
This selection of short stories concluding with the major work “Datsunland” is beautifully written by a literary craftsman. They take the reader through and within the landscape of South Australia’s unique ecosystem, into places tinged and contaminated with saturnine and fateful conclusions. As I searched through the pages I found myself trapped within a boiled down distillation of this state’s home-style miseries and heartbreaks.
The book is wonderfully informed by multiple metaphorical depictions of our inner and outer struggles. Young Marcus loses his mother, his only parent, and goes to live with his eccentric and spiritually bruised great Aunt Charlotte on a small island in South Carolina at the beginning of the summer. Aunt Charlotte has past wounds that haunt her, rendering her a reclusive but renowned local painter.
Undoubtedly, it’s rather nice to think that others are toiling away while we read about them, and the similarities and differences with our own working lives emerge with unusual clarity: occupations do not have to be exotic or abstruse for us to find them fascinating. An Accidental Profession is all about work: its organization and administration, what it does to people, the power of the corporation, our ambivalent relationships with our co-workers.
As described by the publisher, that is an ambitious undertaking for any writer – especially perhaps for a male writer – and one that requires immense artistry and intelligence. Earle has these things in abundance, and he uses them to compelling effect. Many of these stories are gems of the form; they feel inevitable, surprising, effortless.
This is the human condition: oddly shapen, oddly matched, solitary, inter-dependent, vulnerable, and always waiting for something to change. It’s repulsive and loveable all at once. Waiting is critically important – a novel that tells little and shows much, leaving its readers full of fresh insight.
Weather plays a profound role in the novel; it is almost a character. Fog, dark clouds and storms set a mood, suggesting that the Peregrines are subject to forces beyond their control. Young Peda, the family member most in tune with nature, has a strong need for friendship and a belief in magic that lead to a positive outcome for her family members.