The Rose Garden
Short Stories
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- € 12,99
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- € 12,99
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A literary event—twenty short stories by the late Maeve Brennan, one of The new Yorker's most admired writers. Five are set in the author's native Dublin, a city, like Joyce's, of paralyzed souls and unexpressed love. the others are set in and around her adopted Manhattan, which she once called "the capsized city—half–capsized, anyway, with the inhabitants hanging on, most of them still able to laugh as they cling to the island that is their life's predicament." Some of the stories are quietly tender, some ferociously satirical, some unique in their chilly emotional weather. All are Maeve Brennan at her incomparable best.
PUBLISHERS WEEKLY
A New Yorker writer from 1949 to 1981, the late Brennan also wrote many short stories, some published in 1997's The Springs of Affection. Six of the 20 stories in this volume are collected for the first time. Set in and around New York and Dublin, Brennan's carefully crafted scenes are reminiscent of James Joyce's Dubliners for their subtle epiphanies of anesthetized life. "The Bride" is typical, concerning Margaret, a vulnerable Irish immigrant maid who is trapped by a bullying plumber into a loveless marriage. The stories set in Herbert's Retreat fictionalize Snedens Landing on the Hudson River, where Brennan and her second husband, New Yorker managing editor St. Clair McKelway. lived. Four of them feature Charles Runyon, noted man of letters and theater critic (nicknamed "Mr. God"). In "The View from the Kitchen," the maids critique the lady of the house, Leona Harkey, and her fascination with "Mr. God." Another narrative is an ironic sketch of good taste becoming absurd, centered on Runyon's pink-and-white striped shirt and Leona's adoring copy. In "The Stone Hot-Water Bottle," a social absurdity finally pushes Leona into a nuanced but distinct rebellion against her idol. The title tale is set in Dublin, where a 39-year-old shopkeeper with two young children watches her husband slowly die, her memory searching for meaning in the rose garden of a local convent. Unable to translate her exploration into terms others can understand, she is perceived as being wretchedly selfish. Although Brennan's approach includes humor and social commentary, these stories are too dark to be called comedies of manners. Rather her focus centers on the tragedy produced when an individual's need for expression is countered and restricted by the need for societal acceptance. Readers moved by this veteran writer's storytelling skill will welcome the reemergence of the late Brennan's perspectives.
