Customer Reviews

Collected Stories

5 star:		(17)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Not all stars are created equal. By awarding 5 stars to this book, the implication must be that they are stars of the purest gold. I have read some "5-star" novels and short story collections before, but little, in my experience, compares with this: the combination of an extraordinarily beautiful prose style, the seemingly effortless creation of literally hundreds if not thousands of alternately sympathetic and detestable (but always vividly memorable) characters, a profound insight into the psychology of the human mind to rival (and pretty easily surpass) that of any other writer alive, a recreation of atmosphere so real it clings, and a brilliant inventiveness when it comes to creating great story lines (and, often, superbly twisty [but never illogical] endings) places this collection among the very greatest of its kind. One measure of how deeply impressed I was with this book is that now, more than half a year since I finished it, I can look back through the table of contents and still remember not merely every story with tremendous vividness, but often where I was at the time I read it.

Stated broadly, Trevor's stories seem to fall into two distinct types, English and Irish. The former tend to be (as do many of the earlier stories) sharp and edgy, whereas the latter tend to be quiet and pastoral. Although it is the Irish stories that appear to garner the greatest praise from the critics, I prefer the greater cynicism (often bordering on, but never quite reaching, downright misanthropy) of the English stories.

Having to choose my favorites from among this potent collection is akin to separating gold coins that are 100% pure from those that are 99.975% pure (soft though they would be!), but three continue to haunt me just a little more than the others. "The Death of Peggy Meehan," one of the Irish stories, and one of the collection's shortest, tells the tale of a young lad who is taken to his first movie during a summer vacation, and how the fantasies he draws after seeing that movie color (for better or worse) the rest of his life. "In at the Birth," is, unusually for Trevor, a creepy ghost story that Rod Serling would have marveled over. In it, an elderly woman takes a baby-sitting job for a peculiar couple who turn out to be (and this is hardly among the most riveting revelations provided) childless. But rather than leave me frightened, it left me pondering the meaning of life, age, and human relationships. Finally, "The Hotel of the Idle Moon," is what I described to a friend as "the greatest short story ever written." Its title is especially evocative and, in its context, has a host (no pun intended!) of powerful resonances. The "set up" is baldly cliche: on a dark and stormy night a middle-aged couple stop in front of an estate, pretending that their car has broken down. Foul play, one can be sure, is bound to ensue. And so it does. But the play is much fouler and more upsetting than anything anyone can imagine (trust me, until you read this story you cannot imagine what happens). It is one of Trevor's gifts that such a story can't be adequately explained. It has to be read, felt, lived. Suffice it to say that by the end we realize that we have read nothing less than a parable of (very) contemporary times (I don't know when it was written) that manages, in a trice, to both limn and condemn humankind since the beginning of history.

High marks also to "The Table," which reads like a hilarious comedy of errors until the last line suddenly blackens everything that came before it with perfect (and perfectly uncanny) inevitability, "The Forty-Seventh Saturday," as poignant a story of loneliness as I know, and "O Fat White Woman" (the title may be funny; the story is anything but), which spins a tale of the tragedy that follows passive resistance. (And when is the last time you read a story that dealt with that? Why does it seem that Trevor is our only contemporary writer who consistently confronts such common yet seemingly taboo foibles?). As is usual with Trevor, the tragedy occurs on many planes and is of an inestimable magnitude.

Oh, heck, let me not forget "Nice Day at School," an incredibly sensitive and piercing drama, and the superb and highly regarded "In Isfahan," in which a married, middle-aged English man meets a married, youngish English woman on tour in Iran. They try to get close, but their chequered pasts prevent them. What we don't realize until the end, however, is that one of their pasts isn't real. Or is it? And what purpose does fantasy play in encroaching human relationships? Can it be used to repel as well as to lure? Or is it there to comfort? And, if so, comfort whom? Particularly rich stuff.

Amidst a sea of great short story collections, this one by William Trevor will always have its place at the top. There's a word for books like this, and that word is "perfect." May it never go out of print.

This book sits perched in the backseat of my car, easily accessed for a quick William Trevor fix. Trevor is, for me, God's greatest current gift to literature. Each of these stories is a gem. The characters are complex and the situations they find themselves in moving, funny and unique. I recommend this book to anyone who loves language, wit and perfect storytelling.

This is, perhaps,the finest of all books. With 85 magnificent stories, virtually every one a solid masterpiece,William Trevor stands at the ultimate heights of his genre. Each story is a compressed gem and,while I have to admit that not every one is the greatest thing ever written, when you are blown away by about 1100 pages of a 1261 page opus, it is worth it in the end. Even the lesser stories have their merits, beautiful writing and sincere exploration of character. This is a book that everyone should read. I understand that this is a bit of an ethusiastic cliche and it is not a statement I have made before. But the sometimes comedic, usually heartbreaking tales contained within this book are just about all anyone needs to learn the wide range of emotions suffered by humanity. Do not pass up this unique offer. You will never have a better opportunity to be entertained while learning everything about human nature.

Someone else here refers to the problems of 'star' hyperbole. He's right. The five stars Trevor deserves must be especially large and dazzling.
He goes wrong, just a little, once in a while. So did every truly great writer we know. Most of the time he opens a door on the world of two or three people, and shows us the universe in the process. He is a breathtaking artist. Witness 'Another Christmas' - in a dingy living room and armed with no one but an aging Irish couple, he brings home the Troubles in Ireland in epic, heartbreaking scope. And 'Torridge'...a girl said to me when this story first appeared in The New Yorker that it was like Beethoven's Fifth; you can't imagine it not having been around before. It's that good.
Readers! You can do no better than to get to know what this man can do with a pen.

It took me a couple of months to make my way through these 85 stories and it was definitely worth the time I spent with them. Trevor's prose is always simple and clear, yet his range of characters and plots is astonishing because of their superbly captured detail and variety. Most of these stories deal with Irish and English characters, and many swirl around the realities or possibilities of extramarital affairs. "In Isfahan," one of Trevor's best stories, a married middle-aged man carries on an impromptu affair with a young woman he meets while in Iran; in "Lovers of Their Time," another top-notch story, a married man carries on a long-term affair with a shop girl by meeting her in a hotel's second-floor public bathroom. Trevor is also quite adept of presenting the romantic yearnings of women. In "The Ballroom of Romance," a country girl's dreams and consequences are highlighted in her trips to the local dance hall; in "Afternoon Dancing," a middle-aged married woman dallies with the idea of an affair with her dance partner after the death of her close friend. Like Chekhov, to whom Trevor is often compared, this writer also has an admirable sense of comedy. "Mulvhill's Memorial" finds an unlikely pornographic set-up within an office; "The Trinity" has a couple booking a vacation to Venice and ending up in Switzerland. Accidents spiral out of control in "The Penthouse Apartment," and in "A Complicated Nature," a man is forced to help his upstairs neighbor when her suitor unexpectedly dies. Another one of the best stories of this collection is "Broken Homes," where an elderly woman suffers the indignities of having her kitchen painted by a team of indifferent youths. Other first-rate stories include "The Smoke Trees of San Pietro," where a boy's sickness propels his mother into an affair, and "Death in Jerusalem" where a mother dies while on vacation.

I had given up reading for pleasure since my teen years and consumed only history, science and technology readings until the fateful Sunday, listening to NPR, heard William Trevor's, short story "Broken Homes", read by Meryl Strip. I could not take myself from the car to shop, Meryl had not finished the reading!
I then knew I would read more William Trevor and ordered this book straight away. Even since my life has changed! More than 8o stories with such an insight into human character, I wonder if Trevor is the modern Shakepeare, with a xray talent for discerning the inner workings of human souls?

"Death In Jerusalem ", is haunting and wonderful. Every story a joy to read. I spend my evenings now listening to light jazz and reading William Trevor. My life has reached a new peak and the Tele is being sold for junk.

What more could a Trevor fan ask for than a single book containing 1,261 pages and 85 of his most splendid stories? No one weaves a tale as fine as William Trevor. His ability to place the reader into the hearts and souls of his characters is nothing short of remarkable. His stories do not focus on plot but rather on human emotion. They center on ordinary circumstances with extraordinary consequences. From the young schoolgirl with a crush on her teacher, to the betrayed wife, to the obese lonely man longing for love, Trevor covers a wide variety of people who are besieged with despair and striving for purpose.

I'm amazed at how often I hear the reply, "William Tevor? I've never heard of him," when I speak of my favorite short story writer. I can't help but to boast about this great man's talent. He packs incredible power into sparse words that leave an unforgettable impact on his audience. Perhaps some day when
Mr. Trevor is no longer with us he will receive the recognition he deserves. In the meantime, his small legion of fans can relish his gift and treasure the fact that we are among the first to appreciate his eloquence and style.

I had given up reading for pleasure since my teen years and consumed only history, science and technology readings until the fateful Sunday, listening to NPR, heard William Trevor's, short story "Broken Homes", read by Meryl Strip. I could not take myself from the car to shop, Meryl had not finished the reading!
I then knew I would read more William Trevor and ordered this book straight away. Even since my life has changed! More than 8o stories with such an insight into human character, I wonder if Trevor is the modern Shackspeare?
Death In Jeruselem is haunting and wonderful. Every story a joy to read. I spend my evenings now listening to light jazz and reading William Trevor. My life has reached a new peak and the Tele is being sold for junk.

Mr. Trevor's stories are heartbreaking in their simplicity and clarity. Most often, he dissects the illusions which enable people to survive--and which are so very sad. After seven or eight Trevor stories, you begin to wonder if it is even possible to be honest with yourself. In this age where fiction so often is reduced to description, Mr. Trevor still believes in writing about love and death, honor and betrayal, duty and neglect. His physical world is narrow--usually limited to small-town or rural Ireland--but his emotional world is limitless. If you want to know how short stories should be written, read this.

Just ordered this and awaiting it anxiously. I have just finished two later collections The Hill Bachelors and Cheating at Canasta (the title story in the latter is heartbreaking and just a perfect piece of writing). I also immediatley ran out and bought After Rain and A Bit on the Side. I had overlooked Trevor for years. I now fully acknowledge that in doing so; I deserve to be tried for crimes against humanity! Being from Ireland and living here, I also live with the constant knowledge that Trevor is a god and part of the literary furniture. Somehow, strangely, I just took him for granted and never read him. I had also wrongly assumed that Trevor belonged to that somewhat stuffy Irish "big house novel" literary tradition (if one can call it that). By chance, I picked up The Hill Bachelors and have found literary salvation! He is utterly brilliant and consistently so. 12 collections and counting. Nearly every collection consists of 12 stories, each about 20/22 pages long, divided in to 5 or 6 scenes. His structure is so simple and within it he performs miracles, over and over again. It is also wonderful how his stories alternate between a story set in Ireland and a story set in England, the country that he has lived in since his 30s. I adore short stories and all the great North American and Irish writers in the genre: Hemingway, Carver, Wolff, Munro, Joyce and McGahern. But I think Trevor is now my literary hero - plus he's a first rate gentleman (not always so with literary geniuses). Although now 80 let's hope for a new collection from the master in about 2010 and God help him, maybe more after that.