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Reseña del editor
What distinguishes Kate Farrell’s work is the extraordinary accuracy and vividness with which she sets up her situations. She has an eye for detail and an outstanding ear for the way people think and speak. It is far from fanciful to see this at least partly as the product of her experience as an actress. In the theatre, a natural faculty for observing one’s fellow human beings is trained and honed. Listen to the narrator of “Waiting”. If you don’t know someone like that personally, you will have certainly heard her talking just behind you on a bus at some time. The intonation, the accent, the understanding, and the lack of it, are all so true to life. But the people Farrell evokes are not all from one social stratum, or one nation. Here is an ancient and corrupt Irish Priest (“The Way the Truth and the Life”), here is the wife of a notorious Argentinean dictator (“Las Cosas Que Hacemos por el Amor”), or the two Spanish schoolchildren in “The Efficient Use of Reason”, and they are all done with the same conviction, the same ruthless accuracy. Farrell’s eye is not heartless, but it is unclouded by any kind of sentimental affectation; her horrors emerge from what we sometimes call the commonplace. Very occasionally she touches on the supernatural, but when she does she does it superbly as in one of my favourites among her stories “A Murder of Crows” which shows that she can do an uncanny rural atmosphere with grim poetry as well as anyone. It is the gift of every worthwhile writer in this genre to make us realise that just beneath the surface of the banal and ordinary, there yawn great abysses of wonder and terror. I don’t know quite why this realisation, in the hands of a writer like Farrell, should be so thrilling, enjoyable even, but it is. There is not a dull page, not a dull sentence in And Nobody Lived Happily Ever After. From Reggie Oliver 's introduction to And Nobody Lived Happily Ever After
Biografía del autor
Kate Farrell lives in Edinburgh. She was an actress for over thirty years, in a career that spanned everything from Chekhov to Chucklevision. As she is pathologically indisposed to describe a happy ending, she now principally writes ‘contes cruels’ wherein bad things happen to bad people; sometimes the innocent suffer too. Several of her stories have been published: in Charles Black’s Black Books of Horror, Paul Finch’s Terror Tales, The Screaming Book of Horror and Best British Horror 2014, both edited by Johnny Mains. Kate’s debut novella My Name is Mary Sutherland was published by PS in 2014. And Nobody Lived Happily Ever After for Parallel Universe Publications is her first collection of short stories. Two of her stories, Mea Culpa and My Name Is Mary Sutherland, have won awards, also one sonnet and one haiku. The opening chapter of the novel Or The Cat Gets It won the Linen Press award for their Beginnings Competition. For further information check out the website: mynameiskatefarrell.com and for updates try her Facebook page: mynameiskatefarrell.
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- EditorialParallel Universe Publications
- Año de publicación2015
- ISBN 10 099328888X
- ISBN 13 9780993288883
- EncuadernaciónTapa blanda
- Número de páginas188
- IlustradorChong Vincent
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Trade Paperback. Condición: Fine. Vincent Chong: Cover Ilustrador. First. As new, fine copy. In stock now, straight from the publisher. "What distinguishes Kate Farrells work is the extraordinary accuracy and vividness with which she sets up her situations. She has an eye for detail and an outstanding ear for the way people think and speak. It is far from fanciful to see this at least partly as the product of her experience as an actress. In the theatre, a natural faculty for observing ones fellow human beings is trained and honed. Listen to the narrator of "Waiting". If you dont know someone like that personally, you will have certainly heard her talking just behind you on a bus at some time. The intonation, the accent, the understanding, and the lack of it, are all so true to life. But the people Farrell evokes are not all from one social stratum, or one nation. Here is an ancient and corrupt Irish Priest ("The Way the Truth and the Life"), here is the wife of a notorious Argentinean dictator ("Las Cosas Que Hacemos por el Amor"), or the two Spanish schoolchildren in "The Efficient Use of Reason", and they are all done with the same conviction, the same ruthless accuracy. Farrells eye is not heartless, but it is unclouded by any kind of sentimental affectation; her horrors emerge from what we sometimes call the commonplace. Very occasionally she touches on the supernatural, but when she does she does it superbly as in one of my favourites among her stories "A Murder of Crows" which shows that she can do an uncanny rural atmosphere with grim poetry as well as anyone. It is the gift of every worthwhile writer in this genre to make us realise that just beneath the surface of the banal and ordinary, there yawn great abysses of wonder and terror. I dont know quite why this realisation, in the hands of a writer like Farrell, should be so thrilling, enjoyable even, but it is. There is not a dull page, not a dull sentence in And Nobody Lived Happily Ever After." From Reggie Oliver 's introduction to And Nobody Lived Happily Ever After Contents are: Introduction by Reggie Oliver Mea Culpa Helping Mummy A Murder of Crows No Junk Mail All in a Row Dad Dancing The Way and the Truth and the Life My Name is Mary Sutherland The Efficient Use of Reason How I Got Here His Family The Sands are Magic Once Upon a Time A. Reeves Tale Las Cosas Que Hacemos por El Amor Peacock Blue Dress Alma Mater Waiting Mea Culpa was first published in The Eighth Black Book of Horror, 2011 His Family was first published in The Ninth Black Book of Horror, 2012 Dad Dancing was first published in The Tenth Black Book of Horror, 2013 Helping Mummy was first published in The Screaming Book of Horror, 2012 The Sands are magic was first published in Terror Tales of the Seaside, 2013 Waiting was first published in Kitchen Sink Gothic, 2015 Alma Mater was first published in The Eleventh Black Book of Horror, 2015. Book. Nº de ref. del artículo: 017315
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