Holland Noy Скачать все книги 3 Количество книг

This is a novel about the persistence of longing in which the twin lives of the title character blur and overlap. puts her child on the bus for school and passes the day with her baby. Interwoven into the passage of the day are phone calls from a promiscuous, unmarried friend, and recollection of the feral, reckless love she knew as a young woman. It’s a day infused with fear and longing, an exploration of the ways the past shapes and dislodges the present.

In the present moment, dutifully cares for her husband, infant, older child. But at the same time inhabits this rehabilitated domestic life, she re-lives an unshakable passion: Mickey, the lover she returns to with what feels like a migratory impulse, Mickey, whose movements and current lovers she still tracks. With Mickey, she slummed and wandered — part-time junkie, tourist of the low-life — a life of tantalizing peril. "This can’t last", thought, and it was true.

Noy Holland’s writing is lyrical, fired by a heightened eroticism in which every sight and auditory sensation is charged with arousal. The writing in this book — Noy Holland’s first novel — is fearless in its depiction of sexual appetite and obsessive love. It sheds light on the terror of abandonment and the terrible knowledge that we are helpless to protect not only ourselves but the people we most love.

There was a time when the longest story in this book was known by the title of this book — for in a certain sense that story concerns the fabulous costume nature can construe from us when it has made up its mind to unravel us down to the last stitch of thread. But whenever Noy Holland went to read aloud from her work, there was an audience who heard her begin, "At night, we kept watch for turtles," and who, as if transfixed by an enchantress, would not leave their seats until — seventy-nine pages later! — they had heard Holland say, crooning in the manner of one who must give herself to song to keep herself from weeping, "We sat for the men with our hands in our laps with all that was ours in the parlor." To these ravished audiences, and to those to whom they hurried to send word of the amazement they had had the great good luck to be present for, it was "Orbit" — the name of one of the children whose mother's fantastic dying is central to the story's dreamy, rapturous motion — that came to identify for these persons an event unique, and inexpressibly strange, in their experience of literature. For literature, very literature, the heart's inmost speech in all its unexampled difference, is the thing this new young writer has been making, and, along with it, well before the publication of her first book, a name for herself as a force — indeed, as a divergenceto be given every close notice. Nine adventures in the magic of narration, including the audience-retitled "Orbit," The Spectacle of the Body enacts a debut of the first importance and an invitation to feelings not felt in the absence of art.

Noy Holland’s second collection of stories, , once again finds her pushing the boundaries of language and rhythm with her writing. Delving into family relationships, frequently with female protagonists, Holland’s writing develops a tension, both in the situations written of, and in the writing itself.