Written in 2007, this collection of twelve short stories by Irish author William Trevor, whom Michael Dirda in the Washington Post once described as “the best short story writer alive,” will restore a reader’s belief in the supreme ability of some writers to capture reality at a very specific moment, allowing all the subtle complications and emotional connotations to evolve for the reader. Trevor sees his characters for the ordinary, flawed people they are as they face seemingly ordinary problems sometimes made more complex by their own decisions made hurriedly, without concern for the possible complications. Major themes of love and loss, guilt and innocence, and good and evil, join with issues of sin and repentance, and selfishness and unselfishness to provide some serious insights within stories which are perfect in their style and structure. Trevor’s characters, their place, and their times come to life, regardless of their ages and their social positions, and the complications in their lives are ones which readers will understand and appreciate. This reader agrees completely with the New York Times Book Review (for an earlier collection, A Bit on the Side) that Trevor’s story collections are “treasures of gorgeous writing, brilliant dialogue, and unforgettable lives.” Reading this collection will restore one’s belief that truly great writing still exists, even in these days of the tweet and the sound bite.
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Writing a complex novel which is the epitome of Irish noir, author Gene Kerrigan explores the gray areas separating clearly right from clearly wrong, and blurring the lines between good and evil so completely that it is impossible to find anyone in the novel who is not, at some level, a blend of both good and evil. Standing on the O’Connell Bridge over the River Liffey, contemplating his future actions, Tidey believes that he has no safe options: a banker has been murdered, a nun’s life is in danger, and his own career is in jeopardy, regardless of whether or not he carries out the only plan of action he can think of. There was “No moral thing to do. But something had to be done.” Through a series of murders and threats, Tidey keeps his focus on justice, not because he has an idealized concept of it but because he believes that justice may sometimes be achieved without the interference of the courts.
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In 1984 twelve-year-old Pietro Guasti and his parents arrive in Grana, a quiet mountain village in northern Italy between Turin and Milan. Both parents love climbing the mountains, though his father, who is at heart a loner, routinely climbs to the peaks of the higher mountains which attract him. Grana, a tiny farming village, has been losing its population, but it is adjacent to Monte Rosa, a well-known climbing location, which makes it attractive as a vacation site, far different from Pietro’s home in Milan. Pietro becomes fast friends almost instantly with Bruno Guglielmina, a local youth his age who is in charge of his family’s cows. Together they explore the mountain, the abandoned farms, a former school, and other places testifying to the decline of the village economy but fascinating for the images they conjure for the boys. The action throughout is quiet and thought-provoking, leaving the reader to sort through the various subplots and what they mean to both Pietro and Bruno as they try to find personal, emotional success – a sense of achievement based on effort and care for others. As this coming-of-age novel expands its themes and its characters, some face a future which they may not have been expecting. A surprising and very satisfying novel certain to appeal to those who appreciate understated, leisurely writing with much of value to say, and certainly to book clubs.
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Cove, a novella by Welsh author Cynan Jones, so perfectly captures the mind and heart of its main character that many readers will read it in one sitting and then go back and reread all or most of it. An experimental novel in which the narrator’s individual thoughts are set off in separate paragraphs on wide-margined pages, the narrative hovers between a sharp, detailed, almost journalistic depiction of a speaker who goes out to sea in his kayak to scatter his father’s ashes and some equally sharp, detailed pictures of what may be his hallucinations. All observations are the same to the speaker after a sudden storm and a lightning strike at sea leave him seriously injured, hungry and thirsty, and sometimes incoherent. Though he is well trained in the safety procedures which he recognizes may make the difference between his life and death at sea, he has gone out alone in his kayak, without informing the woman he loves, who is pregnant: He had hoped to spend this one last day with his father, in private. What follows is a life or death struggle with a tension rare for such a short work. Though the style is experimental and takes some chances which may take a bit of getting used to, Jones is as aware of his reader as the narrator seems to be, providing clues throughout. Powerful and unforgettable.
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“Dawn breaks over the horizon. It moves across the sea, soaring over the empty beach….It reaches the top of the hill and lingers there, gray and hazy for a moment, before suddenly plunging down the far side. It sweeps over houses, streets, trees, and flowers asleep on balconies. Down in the valleys it seems to dance, lightly, discreetly. It seeps into the forest and spills across the lake where no one ventures now since Adele drowned there four years, five months, and thirteen days ago.”—from the opening paragraph. In approximately six hundred words in the first two pages of this novel, author Nathacha Appanah provides the entire conclusion of the novel, telling of three additional personal disasters, taking the chance that the reader will become more interested in the circumstances which caused these disasters for her characters than in the ultimate results. It is a big chance. It does, however, give the author the opportunity to develop the characters – and interest in them – in what might otherwise appear to be a melodrama. The drama here is powerful and moving in its effects, as the reader cannot help but revisit the action to see if, or how, the details of the conclusion could have been avoided. Nathacha Appanah writes with passion and concern for her characters, and she develops that same concern in the reader as the characters meet their fates.
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