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The Empty Family: Stories Taschenbuch – 30. Juni 2011
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In the captivating stories that make up The Empty Family Colm Tóibín delineates with a tender and unique sensibility lives of unspoken or unconscious longing, of individuals, often willingly, cast adrift from their history.
'I imagined lamplight, shadows, soft voices, clothes put away, the low sound of late news on the radio. And I thought as I crossed the bridge at Baggot Street to face the last stretch of my own journey home that no matter what I had done, I had not done that.'
From the young Pakistani immigrant who seeks some kind of permanence in a strange town to the Irish woman reluctantly returning to Dublin and discovering a city that refuses to acknowledge her long absence each of Tóibín's stories manage to contain whole worlds: stories of fleeing the past and returning home, of family threads lost and ultimately regained.
'Exquisite . . . The chief reason to read these stories is the peculiar power of Colm Tóibín's prose' Telegraph
'Astonishingly precise, depicting complex and conflicted states of mind with rare clarity' Observer
'Beautifully observed' Sunday Times
- Seitenzahl der Print-Ausgabe224 Seiten
- SpracheEnglisch
- HerausgeberPenguin
- Erscheinungstermin30. Juni 2011
- Abmessungen12.9 x 1.4 x 19.8 cm
- ISBN-100141041773
- ISBN-13978-0141041773
Beliebte Titel dieses Autors
Produktbeschreibungen
Pressestimmen
Always deeply moving, the stories here - like the surf-washed pebbles on that Wexford beach - will be read for meaning and enjoyed for their shape and sound for ages to come ― Tribune
It's a collection that will only further fuel Tóibín's ascent through English fiction ― Independent on Sunday
Exquisite . . . The chief reason to read these stories is the peculiar power of Colm Tóibín's prose ― Telegraph
Astonishingly precise, depicting complex and conflicted states of mind with rare clarity ― Observer
Beautifully observed ― Sunday Times
Tóibín's deceptively straightforward style continues to manage somehow to encompass both lucidity and ambiguity, precision and poetry ― Irish Times
Exquisite ― Metro, Fiction of the Week
These stories are always intensely interesting and sometimes profoundly provocative ― Irish Independent
Perfect; and as good as the best of William Trevor, than which there can be no higher praise ― Scotsman
Buchrückseite
From the young Pakistani immigrant who seeks some kind of permanence in a strange town to the Irish woman reluctantly returning to Dublin and discovering a city that refuses to acknowledge her long absence each of Tóibín's stories manage to contain whole worlds: stories of fleeing the past and returning home, of family threads lost and ultimately regained.
Über den Autor und weitere Mitwirkende
Produktinformation
- Herausgeber : Penguin; 1. Edition (30. Juni 2011)
- Sprache : Englisch
- Taschenbuch : 224 Seiten
- ISBN-10 : 0141041773
- ISBN-13 : 978-0141041773
- Abmessungen : 12.9 x 1.4 x 19.8 cm
- Amazon Bestseller-Rang: Nr. 1,220,237 in Bücher (Siehe Top 100 in Bücher)
- Nr. 1,221 in LGBTQ+ Action- & Abenteuerliteratur
- Nr. 15,464 in Kurzgeschichten
- Nr. 25,372 in Liebesromane für Lesben & Schwule
- Kundenrezensionen:
Informationen zum Autor
Colm Toíbín, 1955 in Enniscorthy/Irland geboren, ist einer der wichtigsten irischen Autoren der Gegenwart. Er lebt in Dublin und New York, wo er an der Columbia University unterrichtet. Sein literarisches Werk wurde vielfach ausgezeichnet, u.a. mit dem internationalen IMPAC-Preis. Sein Roman ›Brooklyn‹ wurde erfolgreich verfilmt, das Drehbuch schrieb Nick Hornby.
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Colm Toibin, in this collection of short fiction, has managed a masterful array of stories, and a collage of characters that unveil with melancholic ardor the pain, loss, and empty hearts of people who have refused, run away from, or been denied love. Love lingers in their lives like an open wound, borne from an encounter decades ago.
Toibin- like with "Brooklyn" and "The Master" - in these works displays deft restraint. His prose is terse and powerful. His characters' pain is the simple product of a series of wrong turns- that combined and compounded into something more. Central to almost every character in these stories is a lack of reconciliation with the past. Toibin's characters are running- from pain, love lost, truth, loneliness, confusion, time.
With each passing decade, the onion adds layers. Toibin gives readers of "The Empty Family" first the mature, ripe onion- followed by a series of glimpses into its core. In this way, the structure of Toibin's stories mimic the rhythm and construction of memory. Nothing is more detailed than now. But the emotion of the past, we cannot escape. The impact of moments, whose importance only grow with age, become more clear, and sometimes painful, in the repeating now. The past emerges to the surface like the first, petite bubbles in a pot of stovetop water that is about to turn over into a violent boil.
Frances, in "Two Women", is in the twilight of her life and career. She is a woman "that did not allow herself to feel pain." Frances, on a trip for work to Ireland, is reminded of her 12-year love affair with a man named Luke. "Besides her career, nothing interested her now except her house and her own mind." But for Frances, like so many characters in these stories, the house and mind are not a place of growth and expansion, but rather of retreat. It is a place Frances goes to hide. She resigns from the vulnerability of love in the familiar and routine machinations of her work. Luke was a big decision in her life that she fumbled; and now it haunts her.
Through the pain and loss that Toibin orchestrates with the touch of a puppeteer in these stories, through the absence of love, we are given perhaps the most powerful testament of its presence. Love ceaselessly beckons through the void. "The Empty Family" unveils, in all its subtle splendors, this tug of war between the safeness and isolation of a life without love versus the allure and vulnerability of one where love is present. Toibin offers us a powerful portrait of the ruinous effects of a hardened heart on the soul; and in so doing, champions the importance of an open and ever mindful heart.
The first story, "Silence," is a rather ornate return to the Henry James period and approach that Toibin used in "The Master," a novel that we genuinely loved when we read it in the group. The rest of the stories in the collection, however, are contemporary and many are much more sexually explicit. So, while this is a very fine story, it might be a bit of a false start for the collection.
The stories (including the first, anomalous story) revolve around familial relationships, uncovering how families interact, and often exploring troubled or failed relationships. Many of the major characters are lonely and alienated from their families. They long to return to their families, usually in Ireland. Physically returning home is a common theme. In the final story ("The Street"), the statement "...my real family is you," sums up the families that number of the characters create for themselves.
One of the things that separates short stories from novels is the tight number of characters in short stories. Toibin creates vivid and memorable characters: a flinty older art director ("Two Women"); two young men who had an affair years ago and meet again later, with one of them married to a woman journalist ("The Pearl Fishers"); a young man and his first lover, whom he loses ("Barcelona, 1975"); a gay man raised by his very opinionated but loving aunt ("The Color of Shadows"), a "bad" communist and her controlling mother ("The New Spain"), and the two Pakistani men who find each other under difficult circumstances ("The Street").
Another point is that novels are often processes and involve multiple changes, but stories are built around a single image, and the stronger the image appears in the story, the stronger the story seems. Images in these stories include a conversation between two women in a pub ("Two Women"); three characters having dinner in a fancy restaurant and one of the characters walking home alone ("The Pearl Fishers"); a gay orgy in a warren of rooms ("Barcelona, 1975"), an old sea-side home with tourist cottages built nearby, as well as a refrigerator chained shut ("The New Spain"), and finally a free concert filled with young Pakistani men, and later, two Pakistani men, one older and one younger, walking along the beach ("The Street").
I couldn't get a grasp on the title story, "The Empty Family." While full of beautiful imagery, I could never figure out the relationships between the characters or tell what had happened before the story began.
A few too many of the stories use a dying parent or guardian as the central conceit of the story ("One Minus One", "The New Spain," and "The Colour of Shadows"). But I'm just pointing out quibbles. The stories are uniformly beautiful and sensuous and memorable. Colm Toibin is fabulous.
Robert
Here is one writer who goes from strength to strength; he seems to just get better with each successive work. While the stories may vary in how satisfying one finds each of the narratives, Toibin's precise ability to catch the ebb and flow of his characters thoughts and emotions remains thrillingly constant. A collection worthy of the author of "The Master" and "Brooklyn".