You Have a Friend in 10A
Stories
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- ¥730
発行者による作品情報
From the Booker Prize nominee and New York Times best-selling author of Great Circle, a piercing, irresistible first collection of short stories exquisite in their craft and audacious in their range
A love triangle plays out over decades on a Montana dude ranch. A hurdler and a gymnast spend a single night together in the Olympic village. Mistakes and mysteries weave an intangible web around an old man’s deathbed in Paris, connecting disparate destinies. On the slopes of an unfinished ski resort, a young woman searches for her vanished lover. A couple’s Romanian honeymoon goes ominously awry, and, in the mesmerizing title story, a former child actress breaks with her life in a Hollywood cult.
In these and other stories, knockout after knockout, Maggie Shipstead delivers another “extraordinary” (New York Times) work of fiction and seals her reputation as a writer of “breathtaking range and skill” (Kirkus Reviews). Rich in imagination and dazzling in its shapeshifting style, You Have a Friend in 10A excavates the complexities of love, sex, and life in ways unsparing and hilarious, sharp-eyed and tender.
PUBLISHERS WEEKLY
The 10 stories in this daring, wide-ranging debut collection from Shipstead (after the novel Great Circle) resonate as they leap across time and space. "The Cowboy Tango," set at a Montana dude ranch, cruises through several decades as the complicated relationship between the ranch's owner and a woman who works for him remains uncomfortably static, then changes radically upon the arrival of the owner's nephew. "Lambs," on one level a casual piece about the interactions of those at an artist's colony in Ireland, is haunted by an eerie foreshadowing as each character is introduced with parenthetical summaries of their birth and death dates, which makes its ending both surprising and believable. The masterwork is the deeply unsettling "La Moretta." Interspersed with segments from an enigmatic inquisition, it documents a honeymoon excursion gone horribly wrong. Here and throughout, Shipstead demonstrates a remarkable ability to interlace the events of ordinary life with a mythological sense of preordained destruction. Both formally inventive and emotionally complex, this pays off with dividends.
