Adrian Kenny – Författare
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3 produkter
3 produkter
168 kr
Skickas inom 11-20 vardagar
Originally published in 1992, this childhood memoir, revised and augmented, now has the status of a modern Irish classic. On his first trip abroad, Adrian Kenny observes that the signs are in one language only. There is no need for translation: there is nothing behind. Not so in his suburban childhood and adolescence, where Mayo is behind Dublin, poor fields behind the bourgeois drawing rooms of Rathmines, wildness behind authority. Attached to both, his attempts to reconcile them take him from close certainty to total collapse in the year of change – America, 1968. ‘What was it all for?’ his father asks. ‘It's like the end of the Aeneid,’ whispers his friend. ‘You came at the end of that world,’ Father Wilmot says. The end of Latin Mass, maids, floggings and charcoal suits. The author's keen eye and clear style lends this portrayal of an individual and a generation the truth and elegance of an enduring work of art.
208 kr
Skickas
Skilled portraits in miniature set in Dublin and London: masterful character sketches by one of Ireland’s most observant writers. Although these are separate stories, they form chapters in a man’s life. He knows the characters ‒ in Dublin, the West of Ireland, London, provincial England‒ and they know him. His descriptions are intimate, sympathetic but their lives are sharply drawn. A young Muslim woman moves to a Dublin Street; a married man meets a married woman to make up for a failed night of their youth; a London woman keeps a window open to remind herself that suicide is available. Through each story the overarching narrator also becomes clearer: we see the tension between who he is and the pull of what might have been. As conclusions bring opposites together, in this book, Time is the great character. These are timeless, classic Irish short stories in the vein of William Trevor and Brian Friel, poised and carefully observed vignettes of the lives that compose modern Ireland.
106 kr
Skickas inom 11-20 vardagar
Another first in my life: at the age of thirty-one I brought a girlfriend home. Kathleen sat on the chaise longue, small legs crossed, one tiny toe resting on my mother’s lime-green pouffe, her petite nose wrinkling with distaste as she looked about our family den. Through her eyes I regarded the rusticated fireplace, the crenellation of photos above, the grey cloth donkey – creels full of real turf crumbs from the West – propped against the ormolu clock.’ The Family Business is many things: journal of a frustrated young writer and lover; portrait of bohemian social life in 1970s Dublin; intimate history of the rising Catholic middle class and of a family in flux. Kenny writes autobiography with the eye and ear of a novelist, evoking a time, a place and a welter of emotions through vividly remembered scenes, snippets of dialogue, small epiphanies. Unlike most memoirs, which place so much weight on the act of remembering itself, and are thus more about the writer’s present than his past, The Family Business has the immediacy of a diary, and an almost excruciating honesty. It is, above all, an extraordinarily accomplished piece of writing.