The remarkable renaissance of Patricia Highsmith ("Strangers on a Train, The Talented Mr. Ripley") continues with the publication of "The Highsmith Reader," featuring two groundbreaking novels as well as a trove of penetrating short stories.
Twenty-eight psychologically penetrating stories span almost 50 years of Highsmith's career and establish her as a permanent member of the American literary canon.
With the savage humor of Waugh and the macabre sensibility of Poe, Patricia Highsmith (1921-1995) brought a distinctly contemporary acuteness to her prolific body of noir fiction. Including over 60 short stories written throughout her career, this collection reveals the stunning versatility and terrifying power of her work.
"Highsmith is no more a practitioner of the murder mystery genre...than are Doestoevsky, Faulkner and Camus."—Joan Smith, Los Angeles Times The Patricia Highsmith renaissance continues with Nothing That Meets the Eye, a brilliant collection of twenty-eight psychologically penetrating stories, a great majority of which are published for the first time in this collection. This volume spans almost fifty years of Highsmith's career and establishes her as a permanent member of our American literary canon, as attested by recent publication of two of these stories in The New Yorker and Harper's. The stories assembled in Nothing That Meets the Eye, written between 1938 and 1982, are vintage Highsmith: a gigolo-like psychopath preys on unfulfilled career women; a lonely spinster's fragile hold on reality is tethered to the bottle; an estranged postal worker invents homicidal fantasies about his coworkers. While some stories anticipate the diabolical narratives of the Ripley novels, others possess a Capra-like sweetness that forces us to see the author in a new light. From this new collection, a remarkable portrait of the American psyche at mid-century emerges, unforgettably distilled by the inimitable eye of Patricia Highsmith. A New York Times Notable Book and a Washington Post Rave of 2002.
"These stories, once you get the hang of them, are very wicked, very funny and—this being Highsmith’s mission in life, as far as one can tell—very unsettling." —The Guardian With an eerie simplicity of style, Highsmith turns our next-door neighbors into sadistic psychopaths, lying in wait among white picket fences and manicured lawns. In the darkly satiric, often mordantly hilarious sketches that make up Little Tales of Misogyny, Highsmith upsets our conventional notions of female character, revealing the devastating power of these once familiar creatures—"The Dancer," "The Female Novelist," "The Prude"—who destroy both themselves and the men around them. This work attests to Highsmith's reputation as "the poet of apprehension" (Graham Greene).
"Highsmith's writing is wicked . . . it puts a spell on you, after which you feel altered, even tainted."—Entertainment Weekly Slowly, Slowly in the Wind brilliantly assembles many of Patricia Highsmith's most nuanced and psychologically suspenseful works. Rarely has an author articulated so well the hypocrisies of the Catholic Church while conveying the delusions of a writer's life and undermining the fantasy of suburban bliss. Each of these twelve pieces, like all great short fiction, is a crystal-clear snapshot of lives both static and full of chaos. In "The Pond" Highsmith explores the unforeseen calamities that can unalterably shatter a single woman's life, while "The Network" finds sinister loneliness and joy in the mundane yet engrossing friendships of a small community of urban dwellers. In this enduring and disturbing collection, Highsmith evokes the gravity and horror of her characters' surroundings with evenhanded prose and a detailed imagination.
A New York Times Notable Book of 2011 A Publisher's Weekly Top 10 Book of 2011 A Kirkus Reviews Top 25 Best Fiction of 2011 Title One of Library Journal's Best Books of 2011 A Salon Best Fiction of 2011 title One of The Telegraph's Best Fiction Books of the Year 2011 It's the early 1980s—the country is in a deep recession, and life after college is harder than ever. In the cafés on College Hill, the wised-up kids are inhaling Derrida and listening to Talking Heads. But Madeleine Hanna, dutiful English major, is writing her senior thesis on Jane Austen and George Eliot, purveyors of the marriage plot that lies at the heart of the greatest English novels. As Madeleine tries to understand why "it became laughable to read writers like Cheever and Updike, who wrote about the suburbia Madeleine and most of her friends had grown up in, in favor of reading the Marquis de Sade, who wrote about deflowering virgins in eighteenth-century France," real life, in the form of two very different guys, intervenes. Leonard Bankhead—charismatic loner, college Darwinist, and lost Portland boy—suddenly turns up in a semiotics seminar, and soon Madeleine finds herself in a highly charged erotic and intellectual relationship with him. At the same time, her old "friend" Mitchell Grammaticus—who's been reading Christian mysticism and generally acting strange—resurfaces, obsessed with the idea that Madeleine is destined to be his mate. Over the next year, as the members of the triangle in this amazing, spellbinding novel graduate from college and enter the real world, events force them to reevaluate everything they learned in school. Leonard and Madeleine move to a biology Laboratory on Cape Cod, but can't escape the secret responsible for Leonard's seemingly inexhaustible energy and plunging moods. And Mitchell, traveling around the world to get Madeleine out of his mind, finds himself face-to-face with ultimate questions about the meaning of life, the existence of God, and the true nature of love. Are the great love stories of the nineteenth century dead? Or can there be a new story, written for today and alive to the realities of feminism, sexual freedom, prenups, and divorce? With devastating wit and an abiding understanding of and affection for his characters, Jeffrey Eugenides revives the motivating energies of the Novel, while creating a story so contemporary and fresh that it reads like the intimate journal of our own lives.
In this award-winning dystopian crime novel, one man searches for his missing wife in a futuristic Helsinki struggling with climate change. It’s two days before Christmas and Helsinki is battling a ruthless climate catastrophe: subway tunnels are flooded; abandoned vehicles are left burning in the streets; the authorities have issued warnings about malaria, tuberculosis, Ebola, and the plague. People are fleeing to the far north of Finland and Norway where conditions are still tolerable. Social order is crumbling, and private security firms have undermined the police force. Tapani Lehtinen, a struggling poet, is among the few still able and willing to live in the city. When Tapani’s beloved wife, Johanna, a newspaper journalist, goes missing, he embarks on a frantic hunt for her. Johanna’s disappearance seems to be connected to a story she was researching about a politically motivated serial killer known as “The Healer.” Desperate to find Johanna, Tapani’s search leads him to uncover secrets from her past. Secrets that connect her to the very murders she was investigating . . . The Healer is set in desperate times, forcing Tapani to take desperate measures in order to find his true love. Written in an engrossingly dense but minimal language, Antti Tuomainen’s The Healer is a story of survival, loyalty, and determination. Even when the world is coming to an end, love and hope endure. Praise for The Healer “Tapani’s amatuer sleuthing is all the more fascinating in light of the unimaginable barriers posed by the changing city, with inhabitants focused on their own survival. Readers attracted either to dystopian fiction or to Scandinavian crime will find gold here: Tuomainen’s spare, nostalgic style emphasizes the definitive nature of climate catastrophe, where neither revolution nor cure offers respite.” —Booklist (starred review)
The great revival of interest in Patricia Highsmith continues with this work that reveals the chilling reality behind the idyllic facade of American suburban life. The stories collected in Mermaids on the Golf Course are among Highsmith's most mature, psychologically penetrating works. As in the title story, in which a man's brush with death endows his everyday desires with tragic consequences, the warm familiarities of middle-class life become the eerie setting for Highsmith's chilling portrayals of violence, secrecy, and madness.
A filmmaker and a film theorist construct a dialogue around a close reading of eight Godard films, in chronological order, beginning with My Life to Live (1962) and ending with New Wave (1990). Their close reading follows the unfolding of the films as if the two were sitting at a flatbed, with the benefit of a filmmaker's eye for the formal issues of shooting and editing and a theorist's attention to the relations of text and interpretation. Includes bandw photos. Annotation copyrighted by Book News, Inc., Portland, OR