I Sailed with Magellan
Stories
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- 10,99 €
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- 10,99 €
Beschreibung des Verlags
Major new fiction from an acclaimed master
From the prizewinning writer Stuart Dybek comes a superb new work: a novel-in-stories, eleven masterful tales told by a single voice with remarkable narrative power. In I Sailed With Magellan, Dybek finds characters of irrepressible vitality amidst the stark urban landscapes of Chicago's south side; there, the daily experiences of the neighborhood are transformed in the lush imaginative adventures of his hero, the restless Perry Katzek.
There is remarkable music in each of Dybek's intertwined episodes, the rhythm of street life captured in all its emotional depth and unexpected humor: a man takes his young nephew to a string of taverns where the boy sings for his uncle's bourbon; a small-time thug is distracted from making a hit by the mysterious reappearance of several ex-girlfriends; two unemployed youths hatch a scheme to finance their road trip to Mexico by selling orchids stolen from the rich side of town; a young couple's amorous beach adventure is interrupted when an unexpected visitor washes ashore. As these poignant, often funny chapters unfold, Perry grapples toward the exotic possibilities the world offers him, glimpsing them even beneath the at times brutal surface of the inner-city.
Throughout I Sailed With Magellan, fans of Dybek will find the captivating storytelling, the sharp, spare prose, the brilliant dramatization of resilient, inventive humanity that they have come to expect from him.
PUBLISHERS WEEKLY
Dybek's third work of fiction (his first in over 10 years, after the story collections Childhood and Other Neighborhoods and The Coast of Chicago) comprises 11 elegiac, interlocking stories narrated by Perry Katzek, a young Polish-American growing up on Chicago's racially diverse South Side in the 1950s and 1960s. Although it lacks the narrative momentum of a linear novel, the book offers a powerful, cumulative portrait of the lives of Perry, his family and the people in his neighborhood, where "it seemed that almost every day someone lost teeth at one or another of the corner bars." "Breasts" follows three men with only tenuous connections to Perry, including Joey Ditto, a gangster who keeps getting distracted from making a ruthless hit by the ethereal forms of past lovers. "Blue Boy," which begins as a tale about a sick youngster, ends as a gorgeous contemplation of loss. The strongest stories deal directly with Perry's exploits. In "Orchids," Perry and his friend Stosh try to scheme their way to Mexico by stealing exotic orchids, and in the much-anthologized "We Didn't," Perry and his girlfriend's erotic lakeshore tumbling ("Swimsuits at our ankles, we kicked like swimmers to free our legs") is interrupted by the discovery of a dead body. "I was the D. H. Lawrence of not doing it," Perry reflects, "the voice of all would-be lovers who ached and squirmed." Indeed, all of these beautifully written stories teem with aching recollections. They are lyrical odes to wasted lives, youthful desires, vanishing innocence and the transformative power of memory, which is "the channel by which the past conducts its powerful energy; it's how the past continues to love."
