A classic of short fiction, Alan Spence's celebrated debut collection, first published in 1977, brings Glasgow to vibrant life and captures the spirit of the city as it teetered on the brink of change. From childhood Christmases in small tenement flats and games played on scrubland, to Orange Walks on bright Saturday afternoons and Thursday nights in dark, pulsing dancehalls, these interlinked stories vividly evoke the city and its inhabitants – young and old, Catholic and Protestant, hopeful and disillusioned. Views: 36
A romantic drama set in London, this is a contemporary short story about the uncertain business of living. On the knife's edge between love and tragedy, Adam Reid is a young doctor who finds that mending broken lives is not a vocation for the faint-hearted. Views: 35
A dozen years after the collapse of the Third Reich, four adolescents commit a gratuitously violent assault and robbery in a Viennese park. So begins Jelinek's (The Piano Teacher) brilliant new novel, an unrelenting and horrifying exploration of postwar Austria, where the sins of the fathers are visited upon a new generation too disaffected to understand the source of its inarticulate rage. Jelinek's prose is breathless and incisive as she paints psychological portraits of her characters in swift, sure brushstrokes. Among the group of young criminals in the park are Rainer Witkowski, a liar and a coward who fancies himself a poet, an intellectual and a leader of men, and his twin sister, Anna, who responds to rejection by losing her ability to speak. Their father, Otto, is a brutally sadistic, crippled ex-Nazi who takes pornographic pictures of his battered wife and whose sexual abilities are failing now that the aphrodisiac of Auschwitz is only a dim memory. He is unrepentant; history, he believes, has forgiven him. The son cites Sartre's proposition that history does not exist. But it does, and it repeats itself here in an explosion of sickeningly familiar violence. Views: 35
Philip Roth says the novel is dead, but it would be more accurate to say the audience is dead – we're all just too polite to mention it. What is killing the novel is people's growing dependence on feel-good fiction, fantasy and non-fiction. With this comes an inability or unwillingness to tolerate any irregularities of form, a prissy quibbling over capital letters, punctiliousness about punctuation. They act like we're still at school! Real writing is not about rules. It's about electrifying prose, it's about play. For anyone who wants to write or read daredevil, risk-taking prose, therefore, it was tremendously encouraging that Elfriede Jelinek won the Nobel prize for literature in 2004. But most British readers hadn't heard of her, despite four novels being available from Serpent's Tail (Lust, Wonderful, Wonderful Times, Women as Lovers, and The Piano Teacher), all of them full of her uniquely sneering tone and tireless fury with the human race. Jelinek seized the novel by its bootstraps and shook it upside down. Was she looking for coins or keys, or just trying to prevent fiction swallowing any more insincerity? Her dynamic writing gives a sense of civilisation surviving against the odds. Jelinek's work is brave, adventurous, witty, antagonistic and devastatingly right about the sorriness of human existence, and her contempt is expressed with surprising chirpiness: it's a wild ride. She has also developed a form of cubism, whereby she can approach any subject from any angle, sometimes within the same sentence, homing in with sudden tenacity on some detail such as dirndls or murderers' female pen-pals. Recreating the way the brain lurches along, spreads out, reels itself in or goes on strike, her metaphors and puns run amok, beauteousness sacrificed to a kaleidoscopic inventiveness. Wrongly accused here of writing porn, in America she has been criticised, absurdly, for living with her mother, having a website, and not going along with the war in Iraq. They treat her like some kind of moral philosopher. You can't blame a novelist for being provocative and voicing dissent – that's her job! Without novelists, who's to guide us? Scientists? Priests? Politicians? The innovation in Greed is that Jelinek intrudes more than ever before, rushing in and out of her own book like someone with tummy trouble. She likes to present herself as the bumbling author: "It's a frequent reproach, that I stand around looking stupid and drop my characters, before I even have them, because to be honest I pretty quickly find them dull." She admits to many mistakes: "Oh dear, that doesn't work, and it's also a repetition. Forgive me, I often can't keep up with myself." She hates naming her characters – "It sounds so silly." She identifies a needy piano teacher as a portrait of herself, then proceeds to ridicule and finally destroy her. What it amounts to is a dismantling of the novel before our eyes. Greed lacks the focus of Jelinek's previous books, and is nearly incoherent at times. It is a cry of despair – despair about herself as a writer as much as about the characters she invents: "What is so wretched about me, that I can only be used for writing?" These are the exasperated outpourings of a great writer suffering from a lack of recognition (the book was written before Jelinek won the Nobel). There's a bewildered, lonely quality to it, as well as a few too many references to current affairs, and some lazy passages that suggest she no longer believes she has any readers at all – and despite that, some wonderful, defiant mischief-making. She can't go on, she will go on. The plot, involving the semi-accidental murder of a teenage girl and the dumping of her body in an ominous lake, is minimal and haphazard, its main function to flesh out the divisions between men and women. They are on completely different wavelengths, the women in love with a "country policeman", and he latently in love with men, and blatantly with property. There are other greeds, too, that of banks, naturally, and phone companies, "hot for our voices", and the church. Describing a fancy crucifix, Jelinek writes: "the prominent victim is so full of pride at his stiff price that he's almost bursting out of the screws with which he's fastened to his instrument". But the country policeman's greed surpasses all. He has prostituted himself to every woman in the vicinity and beyond, in the hope that they will hand over their houses to him, or at least leave him something in their wills. He thinks of female genitalia in the same way, all these doors permanently flung open for him. Jelinek circles round him, disgustedly observing that he "completely lacks a whole dimension, that is… that there are other people apart from himself". "We should all hate corporeal life, but only this country policeman… really does hate it. One just doesn't notice at first, because he sometimes jokes and laughs and sings songs to the accordion." She is equally scathing about women and their repellent eagerness to be loved. Sex is furtive, violent, base – "you give each other a good licking" – and love merely a common foible which, for women at least, always involves a dangerous loss of selfhood. Jelinek gives us a startling glimpse here of what women are, as well as answering Freud's question, "What do women want?" It's neither gentle nor sweet nor safe nor reasonable – just true. Carole Angier *** Greed was published in German in 2000, and thus made part of the oeuvre for which Elfriede Jelinek was awarded the Nobel Prize in 2004. Its plot is soon told. Kurt Janisch, an Austrian country policeman, preys on women. He murders a very young one and drives an elderly one to suicide. This is a long novel, but few of its many pages actually advance the plot. Only now and then, as a sort of concession, will a sentence or two tell us what happens next. Greed might be variously described, but not, I think (pace the blurb), as a thriller. Mostly, Greed consists of digression, commentary and repetition. A reader interested in story will feel consistently thwarted; perhaps also that such an interest is inappropriate. Serious fiction, you might begin to feel, shouldn't pander to readers wanting to know what happens next. In German (but not in this translation) the novel has a sub-title: Ein Unterhaltungsroman; that is, light reading, or a novel you might read for fun. This term is at least Jelinek's own, a part of her project and the first note of her characteristic tone of voice, which is sardonic. There are many voices in Greed – the women, Janisch, others in their community – but all sound much the same, infected by the sardonic facetiousness of the author herself; so that, despite its variety of perspective, the tone of the whole is remarkably homogeneous. That tone is a slant expression of outrage, sign of Jelinek's moral seriousness. Her plot and its characters are a canker within the canker of Austria, which may itself be an exemplar of things in general. Janisch is indeed a nasty piece of work. He has brutal sex with women, hates, fears and despises them; but his greed is really for property. Most readers would, I guess, have been able to develop out of Janisch's character and deeds a critique of the most rapacious and murderous tendencies in modern capitalism; Jelinek does it for them. She is a ranter, and there is much to rant about: polluted lakes, mined-out mountains, tourism, sport, old people's homes, the Nazi past, the fascistic present, the traffic… In the ranting, she resembles her compatriot Thomas Bernhard; but he is, blackly speaking, funnier. Bernhard's sentences give pleasure. Jelinek seems to want to match the ugliness of her subject with a language that, if not always downright ugly, is never attractive. The sentences are made unshapely by the expanding bulk of ridiculed material. Her book steadfastly prohibits what literary language engenders naturally: pleasure. Her translator aids and abets her in this. All the author's inventiveness goes into the book's lateral expansion. Her procedures are baroque: a heaping up of instances; frequent allegorising; bizarre conceits. You might even call her whimsical. She devises far-fetched ways of saying a thing, to shock us into awareness with a grisly whimsy. Greed has considerable energy and force. Its moral urgency is beyond doubt. But, reading it, you enter a swirling fog of rage, outrage and sardonic contempt that envelops everything, victims and villain alike, the women in their way being as bad as he is: so foolish, so greedy for affection, gobbling him up, no wonder he is fearful. Throughout it all, insistently, comes the author's own voice, sardonic towards herself, doubting her right and ability do what she is doing. This is the stuff of secondary literature: fiction's failure in the face of life. But a persuasive fiction, one in which the author and readers believe, is more powerful, and can do more good, than Jelinek allows herself to suppose. David Constantine Views: 34
A superb new collection of haiku and other short poetic forms on the theme of Glasgow – its people, landscape, culture. As always, Spence is uniquely illuminating, witty and delightful. Incorporating some of the poems which appeared decades ago in the much sought-after collection of the same title, Glasgow Zen includes mostly new material from this highly popular and exquisite poet. Views: 31
School's out and sixteen year-old Kennedy Simms is bored. That could be a recipe for disaster...Good girls don't go to real parties, like the ones in the hood. Or rock bangin' clothes. Or stay out as long as they want. But I'm sick of my parents' rules and being the perfect little boring suburban princess. It's my life, right? I've decided to have some fun for a change, hitting the streets with my new bestie, Sasha. Best of all, my new gangsta-fine boo, Malik, knows how to treat me right, spoils me like I deserve, and is someone I can finally call my own. Sure, living the life and being with Malik is getting me into mad-crazy trouble. And if I don't tell the truth about him, I could go to prison. But a good ride-or-die girl never snitches. And as long as my friends and my man stick by me, nothing can go wrong, right? "A drama-filled cautionary tale about getting in too deep." --Publishers Weekly on Crazy Love"Abrams again tantalizes us,... Views: 30
Sam longed to pick up his cell phone, call Harry Rathbourne, and tell him to "take his job and shove it" Babysitting for the spoiled twenty-two year old Zoe Rathbourne wasn`t his idea of respectable work, but there was a stack of bills on his battered old desk that he couldn`t pay, and he wasn`t welcome back on the police force. He needed the Rathbourne money; Zoe Rathbourne needed a damned good spanking.
Sam spent several long minutes observing her on the dance floor as she whirled about, her dancing growing more and more suggestive by the moment. Her mini skirt showed a fine pair of legs, and her top was too revealing? If she were his daughter, or sister, he?d take her by the arm, march her out of the crowded club, and take a belt to her ass. Didn`t she realize that she was begging to be raped? God, he hated babysitting for the spoiled little brat.
Zoe finally conceded that Sam was right about one thing; cuffing herself and getting into his car and faking her own kidnapping had been a huge mistake. She`d spent a miserable night, waking often, unable to get comfortable, and truly terrified that he was planning to rape her. She was a virgin, and she didn`t want her first time to be taken from her in an act of rage. Still, it was her bottom that was aching, burning, throbbing, and swollen from his hard hand. There was nothing at all sexual in the way he`d handled her. It was a punishment, pure and simple. He`d made it perfectly clear that she had no other option but obey him for the next week. That didn`t mean she was going to satisfy him sexually, and she intended to make that perfectly clear - just as soon as she was permitted to speak without fear of earning another spanking. She didn`t want another one of those ever! Views: 29
Becky`s twin brother, Rob, is unhappy in his marriage, and Becky decides to risk her husband Trevor`s wrath and try to help Rob. She plants a pair of sexy red panties in her brother`s bag, knowing that Holly will have a fit, and equally sure her brother will take the blonde over his knee and spank her for falsely accusing him of cheating on her.
Rob immediately realizes who is behind the prank, and wakes his sister out of a sound sleep and orders her to tattle on herself, knowing full well that Trevor will make sure she doesn`t sit for a good while.Holly is shocked when Rob decides to spank her after she demands a divorce, and even more shocked when she realizes that the spanking only makes her feel safe and loved. Even though Holly loves Rob, she feels he spends too much time with his twin, and both Rob and Trevor despair of the two women ever becoming close. Views: 27
A joyful and hilarious tale of some very spirited septuagenarians as they overcome innumerable obstacles to save their beloved mutt from a heartless exterminator in a land where bureaucracy reigns above all else. Picaresque at its very best. Perhaps you're not a member of the Azov House of Culture Elderly Club? Perhaps you missed the talk on the Cabbage Root Fly last week? Galina Petrovna hasn't missed one since she joined the Club, when she officially became old. But she would much rather be at home with her three-legged dog Boroda. Boroda isn't 'hers' exactly, they belong to each other really, and that's why she doesn't wear a collar. And that's how Mitya The Exterminator got her. And that's why Vasily Semyonovich was arrested. And Galina had to call on Zoya who had to call on Grigory Mikhailovich. And go to Moscow. Filled to the brim with pickle, misadventure and tears, Galina Petrovna's Three-Legged Dog Story will leave you smiling at every page. Views: 27
How to Read a Book, originally published in 1940, has become a rare phenomenon, a living classic. It is the best and most successful guide to reading comprehension for the general reader. And now it has been completely rewritten and updated. You are told about the various levels of reading and how to achieve them -- from elementary reading, through systematic skimming and inspectional reading, to speed reading, you learn how to pigeonhole a book, X-ray it, extract the author's message, criticize. You are taught the different reading techniques for reading practical books, imaginative literature, plays, poetry, history, science and mathematics, philosophy and social science. Finally, the authors offer a recommended reading list and supply reading tests whereby you can measure your own progress in reading skills, comprehension and speed. Views: 22
"Peter Pan is a great and refining and uplifting benefaction to this sordid and money-mad age."—Mark TwainOne hundred years after J. M. Barrie published the novel Peter and Wendy, Maria Tatar revisits a story that, like Alice in Wonderland, bridges the generations, animating both adults and children with its kinetic energy. The adventures of the Darling children with Peter Pan and Tinkerbell in Neverland are the seminal tale of escape and fantasy. Inspired by Barrie's real-life adventures with the five Llewelyn Davies boys he adopted, the story of Peter Pan has a deep and controversial history of its own that comes alive in Tatar's new edition. This brilliantly designed volume—with period photographs, full-color images by iconic illustrators, commentary on stage and screen versions, and an array of supplementary material, including Barrie's screenplay for a silent film—will draw readers into worlds of incandescent beauty, flooding them... Views: 19
A heartwarming novel about the surprise of second chances in the autumn of your life. Views: 19
Osborne here delivers his trademark eloquence, rage and devastating wit. A Sense of Detachment satirises our heartless, profiteering society, while defending timeless human values. The End of Me Old Cigar examines the decadent lives of a collection of leading media figures. The television play Jill and Jack is a comic gem that satirises the conventions of its own genre while also being a close study of sexual warfare. A Place Calling Itself Rome is a powerful reworking of Shakespeare's Coriolanus. Views: 18
