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Katherine Mansfield

The Garden Party

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A classic short story collection from a twentieth-century classic British modernist and the only writer Virginia Woolf claimed to be jealous of.
In fifteen funny, colorful, poignant and mysterious stories, the irreverent modernist Katherine Mansfield, a friend and contemporary of D. H. Lawrence and Virginia Woolf, examines a range of themes integral to the human experience, from marriage, family, and death to duty, disillusionment, and regret in this commanding collection, part of the Ecco Art of the Story series. Written towards the end of Katherine Mansfield’s tragically short life in the chaotic years after World War I, the fifteen stories in The Garden Party are as fresh, perceptive, and vivid today as they were nearly a century ago. Many are set in the author’s native New Zealand while others take place in England or on the French Riviera. In each, Mansfield explores the small yet transformative epiphanies in every day life and illuminates the unspoken, often misunderstood emotions common to us all. In the wry “The Daughters of the Late Colonel,” two sisters discover that freedom from their father isn’t quite what they expected it to be. A lonely and naïve older woman’s contrived sense of self is painfully challenged in “Miss Brill.” “At the Bay” considers the plight of a happily married young woman who struggles to find equality with her husband. The Garden Party is an enduring work of literary craftsmanship from a marvelous modern artist.
“I was jealous of her writing--the only writing I have ever been jealous of.” —Virginia Woolf
Ova knjiga je trenutno nedostupna
213 štampanih stranica
Prvi put objavljeno
2016
Godina izdavanja
2016
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Citati

  • Саша Устюжанинаje citiralaпре 4 године
    , to allow the most mundane remark to have a strange darting power. I
  • Саша Устюжанинаje citiralaпре 4 године
    The visible world in her stories both conceals and discloses layers of emotion, often in the same phrase or the same sentence. She uses details as hidden implications. She never forces a thing or an object to stand for a feeling, or allows it to have more resonance than tact will permit. Rather, she lets what her characters notice console them and distract them, while also allowing the reader to understand and know what is, for the moment, being sidelined or ignored. Mansfield has a way of hovering before she swoops so that the hovering becomes her great subject and the swooping is often ungainly and oddly pointless, or much too late. The prey has moved on, or changed its shape.
  • Саша Устюжанинаje citiralaпре 4 године
    for many years, she herself died in 1923 at the age of thirty-four, a year after The Garden Party, her third volume of stories, was published.)
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