One Sun Only
Stories
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- 予約注文
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- リリース予定日：2026年1月27日
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- ¥2,000
発行者による作品情報
A stunning collection of stories exploring love and art, luck and loss, from the “invaluable” (George Saunders) author of How to Behave in a Crowd and The Material
“These stories don’t close so much as continue inside you. They tilt the world and don’t set it back, leaving you to live with the shift.”—Morgan Talty, author of Fire Exit and Night of the Living Rez
A young woman takes stock after the burglary of her apartment. A teenager becomes obsessed with the obituaries in a weekly magazine. Grandchildren mourn the grandparents who loved them and the grandparents who didn’t. Painters and almost-painters try to distinguish Good Art from Bad Art. People grapple with life-altering illness, unrequited love, and promises they have every intention of keeping. Some win the lottery. Others don’t.
In these sinewy, thoughtful stories, celebrated New Yorker contributor Camille Bordas delves into the mysteries of life, death, and all that happens in between. At once darkly funny and poignantly self-aware, Bordas’s writing offers a window into our shared, flawed humanity without insisting on a perfect understanding of our experiences.
With her first collection, which gathers previously unpublished stories alongside work originally featured in The New Yorker and The Paris Review, Bordas cements her reputation as a master of the form.
PUBLISHERS WEEKLY
Bordas (The Material) probes her privileged characters' existential dread in this masterful collection. The narrator of "One Sun Only" spends a night scrutinizing his children's drawings for "signs of trauma" over his father's recent death. "Most Die Young" follows a French hypochondriac (one week it's Parkinson's, the next it's "tongue fungus") whose boyfriend jokingly suggests she travel to Malaysia and become the "god" of a local tribe "who value fear more than we do courage." Death is a reocurring presence throughout the volume: in "The Presentation on Egypt," a mother conceals her husband's suicide from their nine-year-old daughter, telling her instead that he died from a heart attack. The narrator of "Chicago on the Seine," a U.S. embassy worker in France, uses gallows humor to describe his job, which sometimes involves repatriating a corpse ("What I'd noticed was that death abroad was more common on package tours. Contrary to popular belief, the group didn't lift you up"). In the collection's standout, "Colorín, Colorado," an established author is unsettled by a student's claim that her stories have "no beginning or end, really, only middle," a critique that doubles as a wry commentary on Bordas's own work. Distinguished by the author's sly wit and complex understanding of the human condition, these stories leave a mark.
