Antarctica
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- 95,00 kr
Utgivarens beskrivning
Compassionate, witty, and unsettling, Antarctica is the debut collection of one of Ireland's most exciting and versatile new talents. Claire Keegan, winner of several prestigious awards including the William Trevor Prize, writes stories that have a razor-sharp narrative style and unembellished tone, and move from the cruel, hard life of rural Ireland to the hot landscape of the southern United States.
From the title story about a married woman who takes a trip to the city with a single purpose in mind—to sleep with another man—Antarctica draws you into a world of obsession, betrayal, and fragile relationships. In "Love in the Tall Grass," Cordelia wakes on the last day of the twentieth century and sets off along the coast road to keep a date, with her lover, that has been nine years in the waiting. In "Passport Soup," Frank Corso mourns the curious disappearance of his nine-year-old daughter and tries desperately to reach out to his shattered wife who has gone mad with grief.
Keegan's characters inhabit a world where dreams, memory, and chance can have crippling consequences for those involved. Moving in its quiet intensity, the award-winning Antarctica is a rare and arresting debut.
PUBLISHERS WEEKLY
The chill reaches to the bones of this debut collection of 15 stories by Keegan, an acclaimed young Irish writer whose precisely articulated, clear prose illuminates her native land. In Keegan's Ireland, it is eternally winter, and familial relations provide neither appeasing warmth nor protection. Her mostly female narrators dwell on the cusp of self-knowledge; they have ruefully observed the example set by their mothers, aunts and grandmothers "flat-bellied, temperamental women who've given up and call it happiness" and are slowly feeling out new possibilities for their own lives. Rebellions range from the small and symbolic (a mother takes the wheel of a car and leaves her husband stranded) to the wider-reaching (a woman decides to keeps her illegitimate child). Such victories cannot keep the harshness of the world at bay and are of little help, for example, to the couple whose daughter is kidnapped. Yet Keegan depicts the ascendance of a generation of women who "can butt in and take over, rescue and be rescued" in an Ireland on the verge of a self-generated wave of feminism. The setting of several stories in the U.S. (where Keegan did her undergraduate work) is indicated only by a smattering of details such as baseball hats and fast food; they might as well, and with greater effect, have been set in Ireland. While Keegan's imagery occasionally bears the clear brand of the M.F.A. program, these moments are few and are outweighed by the restraint with which she deploys such imagery, and by her stern refusal to fall back on anything that might resemble a happy ending.
