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The World Is the Home of Love and Death

de Harold Brodkey

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The final short story collection that completes the extraordinary literary voyage of Harold Brodkey, a modern master of short fiction; his most forceful and incisive collection of all. In this collection, Harold Brodkey displays all his remarkable gifts - his exquisite authorial control, his unerring attentiveness to the subtle dynamics of sexual power, and his remarkable ability to depict the perils and perversities of family life. He returns to themes he has treated so memorably in the past - the malevolence of cocktail-party conversation, the conformity and stupefying monotony of suburbia - bringing to them a new refinement and compression. And he takes us back to the Silenowicz family, Wiley, S.L. and Lila, where unstated threats lurk behind kind words, and where a gentle parental touch carries more than a hint of seduction. In all of these stories, several of which were completed in the last months of his life, Harold Brodkey proves that there has never been a more acute translator of the language of power, coercion, and, ultimately, love.… (mais)
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Brodkey is a strange, strange, strange writer. Reading his work is like watching a train wreck in the slowest of slow motion. The reader stumbles across never-ending sentences and periodically disastrous turns of phrase, yet it serves to ramp up this obsessive, bizarre, twisted, psycho-sexual drama and spins it out to lengths somewhere between interminable and astonishing. The first story in this collection is probably the best example of that "style". He will never be a writer loved by, well, probably anyone, least of all me. But that doesn't mean I'm not endlessly fascinated and fatigued by the work. ( )
1 vote eswnr | Dec 1, 2007 |
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The final short story collection that completes the extraordinary literary voyage of Harold Brodkey, a modern master of short fiction; his most forceful and incisive collection of all. In this collection, Harold Brodkey displays all his remarkable gifts - his exquisite authorial control, his unerring attentiveness to the subtle dynamics of sexual power, and his remarkable ability to depict the perils and perversities of family life. He returns to themes he has treated so memorably in the past - the malevolence of cocktail-party conversation, the conformity and stupefying monotony of suburbia - bringing to them a new refinement and compression. And he takes us back to the Silenowicz family, Wiley, S.L. and Lila, where unstated threats lurk behind kind words, and where a gentle parental touch carries more than a hint of seduction. In all of these stories, several of which were completed in the last months of his life, Harold Brodkey proves that there has never been a more acute translator of the language of power, coercion, and, ultimately, love.

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