From Publishers Weekly
Boyd (
Any Human Heart, etc.) is difficult to pigeonhole. The 14 stories in this book include the supernaturally inflected ("A Haunting," "Visions Fugitives"), the Chekhovian bittersweet ("The Woman on the Beach with a Dog"), the PoMo urban spiel ("Beulah Berlin, an A-Z") and the comedy of dogged lechery. The last is represented by "Adult Video," which, in journal form, records the infidelity of one Edward, a cynical graduate student, and "Fascination," in which the same Edward, married to the girlfriend he cheated on, bungles a brief foray as a freelance journalist by making a pass at a young interviewee. "A Haunting" uses an old horror motif (a man is possessed by the spirit of another man) to illuminate the character of architect Alex Rief. While the story begins well, it concludes rather flatly with a pseudoscientific explanation. Dispossession is the more everyday horror that animates "The Ghost of a Bird," in which a Doctor Moran observes the brief recovery and sudden death of a young brain-damaged soldier, Gerald Gault. Gault, who published a short story shortly before being injured in 1944, has, in his brief recovery, confused his life with that story: "what became real to Gerald Gault was a consoling phantom, a dream, an urgent wish." Boyd's characters are, as a general rule, seeking—and mostly failing—to attain the intensity of some similar imaginative act.
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From Booklist
Prizewinning author Boyd follows up his acclaimed novel
Any Human Heart [BKL Ja 1 & 15 03] with a collection of 14 short stories, many of which feature artists, musicians, and writers as the central characters. In "Notebook No. 9," a film director going through a bad patch in his career reveals his obsession with the leading lady in his recently completed film. Although the director is uncommonly astute in his critical comments on the technical aspects of filmmaking, he seems blind (depressingly so) to much larger issues, such as the fact that the actress has lost all interest in him. Some of these stories are experimental in form, such as "Adult Video," in which perennial student Edward Scully, frustrated and self-absorbed, uses the cues of a video recorder (play, fast-forward, pause) to juxtapose his real life with an imagined one. The strongest story in the collection, "Incandescence," employs four narrators to tell the story of an ultrawealthy businessman reconnecting with his former flame and her new husband, a charming if oily con man who has drained the family coffers.
Joanne WilkinsonCopyright © American Library Association. All rights reserved
--This text refers to an alternate
Hardcover
edition.