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18 of 20 people found the following review helpful:
5.0 out of 5 stars
"Other glimpses and other betrayals.", September 29, 2004
Irish writer, William Trevor (1928- )(FELICIA'S JOURNEY; THE STORY OF LUCY GAULT), has been called the Chekhov of our time, and if Chekhov were alive today, it is easy to imagine that he would be writing short stories much like the twelve pieces contained here. I always open a new William Trevor book with a sense of excitement. Trevor's writing is brilliant and requires the reader's full attention; it is characterized by subtle nuances that offer keen insights into the heart of human nature. His characters are ordinary people whose personal struggles are depicted with a significance that is both poignant and universal. Reading Trevor requires patience, but readers can expect to emerge from a Trevor story with a broader understanding of what it means to be human.
Trevor's eleventh volume of short stories grapples with the uncomfortable truths of disillusioned relationships. In the first story, "Sitting with the Dead," a new widow laments her loss of a hateful husband to two rural Irish nuns ("professional" sitters for the dying). In "Solitude," an heiress tells the story of her parents' unstable marriage to strangers; "On the Streets" follows a woman being stalked by her lonely ex-husband; in "Rose Wept," an 18-year-old schoolgirl weeps with regret over "other betrayals" after gossiping about the cuckolded man who tutors her; and in the title story, a middle-aged accountant explains his reasons for ending an affair with a woman so that she won't be regarded as his "bit on the side. In this emotionally haunting collection of twelve stories, we witness Trevor at his best. His characters discover through the nostalgia of lost love that, when it comes to relationships, "things happen differently" than expected; "we're never in charge" (p. 151).
G. Merritt
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12 of 13 people found the following review helpful:
5.0 out of 5 stars
Achingly Sublime, November 14, 2004
Finding an author who labors for subtlety, one who more than appreciates it but rather writes for and of the reason of subtlety, for it alone, is awfully, awfully rare. Most authors don't seem to fully understand the magic of quiet intelligence, which allows a reader to slip inside a story and synthesize the events and details. As I have learned in school, it is subtlety that allows a reader to disengage from his or her life and suspend disbelief. I have never read any of William Trevor's work before, but I understand now why he is considered a master storyteller. A BIT ON THE SIDE is a remarkable collection indeed.
I recommend Paddock's A SECRET WORD, a brilliant novel-in-stories, for the same reasons.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Tinkering with Secrets and Other Hidden Things, February 21, 2005
William Trevor guides us through streets and dank parlors and weakly lighted public places where his characters guard or choose to unravel those darker aspects of living he understands so well. In A BIT ON THE SIDE Trevor has written twelve short stories that could have been written by no one else. His prodigious gifts as a writer make him privy to the musings we all hold in private, knowing that voicing them would doubtless find misunderstanding glances in parting eyes of the people in retreat from our confessions.
Where does Trevor find these thoughts, much less these subtly drawn characters? In lonely corner tables in pubs, in the shy fears of wives of husbands departed in body or in spirit, in expectations of young Irish girls dreaming of better lives in America, or of poor pregnant mothers willing to offer their incipient child for adoption to spare their husband's jobless humiliation?
While William Trevor is a demanding author, one who graces his stories with subtle time lapses or changes that require the reader to be on the alert for the assured nuances of his craft, he is never less than amazing in his ability to paint portraits of people so odd in their ordinariness that ending a short story does not allow us to leave them alone. This is writing of the highest order - challenging, enriching, plangently longing, unforgettable. These are twelve treasures. Highly recommended. Grady Harp, February 2005
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