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Elementals: Stories of Fire and Ice
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Editorial Reviews
Amazon.com
A.S. Byatt's stories simmer with a sensuality and passion that, like topiary trees in a formal garden, are pruned and trained into cultivated shapes while retaining the wild scent of the orchard. In "Crocodile Tears" a woman walks away from a personal tragedy, deserting those she loves to try to reconcile herself to a death for which she feels horribly responsible. Thrown together in Nîmes with another exiled mourner, a Norwegian full of northern folktales, she ricochets between a numbed calm and a reckless urge for self-destruction. Together they begin to assemble some kind of personal solace out of fragments of European history, fiction, and myth, and so come to terms with their guilt. "A Lamia in the Cevennes" is also set in France, where another isolated English exile struggles for self-knowledge amid the shards of history and folktale. "Cold" is itself a kind of latter-day fairy story of ice princesses and sighing suitors. These are stories steeped in light and color, full of glowing landscapes and sensuous delights. Their intricately woven skeins of literary allusion and keenly observed locations bewitch the reader. Yet the figures in Byatt's landscapes seem powerless to derive pleasure or solace from their surroundings, picking their lonely way through the brilliance, carrying with them burdens of painful memories they cannot shake off. --Lisa Jardine, Amazon.co.uk --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Brilliantly mingling reality with the surreal atmosphere of folktales and fairy tales, Byatt follows The Djinn in the Nightingale's Eye with an equally virtuosic and beguiling collection. The subtitle is the key to the oppositions that inspire these six stories. They teem with contrasts between inexplicable compulsions and societal norms, the extremes of love and hate, the mysterious tension between the rational and the mystic, and between the creation of art and the demands of daily life. Byatt's meticulous control of language gives these narratives a visual and tactile dimension that's almost palpable. Permeated with descriptions of colors, temperatures and atmosphere, full of sensuous imagery, each is an immersion in a richly imagined world. A compulsion to flee from the reality of her husband's dead body sends the protagonist of "Crocodile Tears" to sun-drenched Nimes, where she meets a man from Norway who is researching folktales common to both regions. Slowly and agonizingly, each regains the ability to deal with loss. In "Cold," Fiammarosa, the princess of a mythical kingdom, can exist only in a frigid atmosphere, but she marries a prince from a desert realm where burning sand is spun into glass; the contrastAand the eventual mingling of the two polaritiesAis conveyed in passages of gorgeous description. The protagonists of most of these stories work in the creative arts or have strong ties to literature. (Interestingly, the central character of the one disappointing tale, "Baglady," a nightmarish scenario that lacks resolution, does not.) "The world is full of light and life, and the true crime is not to be interested in it," says a painter, one of the characters in "Christ in the House of Martha and Mary." Byatt conveys this conviction via an unfettered imagination, an intense lyricism combined with distilled and crystalline prose, and an astute grasp of the contradictory impulses of human nature. Six illustrations. Author tour.
Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
A.S. Byatt's stories simmer with a sensuality and passion that, like topiary trees in a formal garden, are pruned and trained into cultivated shapes while retaining the wild scent of the orchard. In "Crocodile Tears" a woman walks away from a personal tragedy, deserting those she loves to try to reconcile herself to a death for which she feels horribly responsible. Thrown together in Nîmes with another exiled mourner, a Norwegian full of northern folktales, she ricochets between a numbed calm and a reckless urge for self-destruction. Together they begin to assemble some kind of personal solace out of fragments of European history, fiction, and myth, and so come to terms with their guilt. "A Lamia in the Cevennes" is also set in France, where another isolated English exile struggles for self-knowledge amid the shards of history and folktale. "Cold" is itself a kind of latter-day fairy story of ice princesses and sighing suitors. These are stories steeped in light and color, full of glowing landscapes and sensuous delights. Their intricately woven skeins of literary allusion and keenly observed locations bewitch the reader. Yet the figures in Byatt's landscapes seem powerless to derive pleasure or solace from their surroundings, picking their lonely way through the brilliance, carrying with them burdens of painful memories they cannot shake off. --Lisa Jardine, Amazon.co.uk --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Brilliantly mingling reality with the surreal atmosphere of folktales and fairy tales, Byatt follows The Djinn in the Nightingale's Eye with an equally virtuosic and beguiling collection. The subtitle is the key to the oppositions that inspire these six stories. They teem with contrasts between inexplicable compulsions and societal norms, the extremes of love and hate, the mysterious tension between the rational and the mystic, and between the creation of art and the demands of daily life. Byatt's meticulous control of language gives these narratives a visual and tactile dimension that's almost palpable. Permeated with descriptions of colors, temperatures and atmosphere, full of sensuous imagery, each is an immersion in a richly imagined world. A compulsion to flee from the reality of her husband's dead body sends the protagonist of "Crocodile Tears" to sun-drenched Nimes, where she meets a man from Norway who is researching folktales common to both regions. Slowly and agonizingly, each regains the ability to deal with loss. In "Cold," Fiammarosa, the princess of a mythical kingdom, can exist only in a frigid atmosphere, but she marries a prince from a desert realm where burning sand is spun into glass; the contrastAand the eventual mingling of the two polaritiesAis conveyed in passages of gorgeous description. The protagonists of most of these stories work in the creative arts or have strong ties to literature. (Interestingly, the central character of the one disappointing tale, "Baglady," a nightmarish scenario that lacks resolution, does not.) "The world is full of light and life, and the true crime is not to be interested in it," says a painter, one of the characters in "Christ in the House of Martha and Mary." Byatt conveys this conviction via an unfettered imagination, an intense lyricism combined with distilled and crystalline prose, and an astute grasp of the contradictory impulses of human nature. Six illustrations. Author tour.
Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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