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Interims.

Chadwick, Cydney.

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ISBN 10: 0964601745 / ISBN 13: 9780964601741
Editorial: San Francisco: 3300 Press, 1997., 1997
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Librería: Sara Armstrong - Books (Cedarville, CA, Estados Unidos de America)

Librería en AbeBooks desde: 15 de abril de 1998

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Descripción

26pp, (5.5 x 8.5 inches). Fine in stapled illustrated wrappers (softcover). Crisp and clean. SIGNED and inscribed by the author. Poetry. N° de ref. de la librería 12288

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Detalles bibliográficos

Título: Interims.

Editorial: San Francisco: 3300 Press, 1997.

Año de publicación: 1997

Encuadernación: Soft cover

Ejemplar firmado: Signed by Author

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Sinopsis:

Cydney Chadwick's recent collection of short fictions mark a change in her work, and a radical deepening of her critique of our edge-of-a-new-millennium culture. Always dark-edged, her stories now have an intense chiaroscuro effect. Her characters are trapped in a ritualized interplay between the empowered and the powerless. And yet, this is not the fiction of fragmentation or divided selves. Instead, it is the fiction of identity held like a closely-guarded secret, barricaded against the assaults of the world.

In Interims, Chadwick's fictions are brave, incisive, and often disturbing. Her landscapes are rendered in deep focus, are unrelenting and disquieting--forcing the reader to take stock of the subtle and insidious changes in a world that repeatedly isolates and dehumanizes.

Excerpt. © Reprinted by permission. All rights reserved.:

Routine

A man throws a boy headfirst down the stairs of a cheap boardinghouse. The boy lies in a heap at the bottom. As soon as he stirs, the man claps his hands, two terse claps, and the boy crawls up several stairs until he is oriented enough to clasp the bannister and pull his way to the top.

Again the man says, taking the boy in his arms and hurling him like a caber in the Scottish Games. When the boy hits the floor tears spring to his eyes. None of that the man admonishes, surveying him from the second floor.

As the boy climbs the stairs for the third time a swelling begins to grow on his shin and a gash on his elbow leaves little drops of blood on the mahogany. This time the man grasps the boy with one arm around his shoulders, the other under the backs of his knees, and looks as if he is going to now fling him back-first. But the landlady comes out of a second floor room and tells them that the session is over, they're making too much noise-however, would the man care for a whiskey? The man puts the boy down, says he would indeed and the two disappear behind a heavy wooden door. The boy sits at the top of the stairs, rubbing his wounds.

The boy becomes known as Buster Keaton, so called because Harry Houdini admiringly tells his father the boy can take a real "buster" when the boy and man perform their routine.

The man becomes bitter, resentful of his son's talent, of his son's ability to consistently upstage him, and devises ways to steal a great deal of the boy's money. These schemes, though, rarely need to be acted upon, for the boy, reasoning that his father is, after all, his father, gives it to him willingly.

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We are an online internet bookstore. Although we maintain a broad general collection, we have a concentration of material on the American Southwest and Indians of North America, both history and literature. Digital photos on request. Email (s.armstrong.books@gmail.com)or phone (530 279-2190).

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