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Now That You're Back

Review Now That You're Back

Exposing and exploring the sinuous undercurrents of violence anguish and love AL Kennedy examines the nature of the individual both in isolation and society as character Opening a collection of short stories is a little like getting into a lift or elevator if you prefer – you never know who’ll get in for how long they’ll ride whether you’re likely to engage with them or what relationship if any they are likely to have with each other Your curiosity may or may not be piued you may wrinkle your nose at the smell or be embarrassed at the enforced intimacy however transient What you do know is that like any passenger in the lift you’re unlikely to be vouchsafed someone’s life story that your experience will only produce brief and probably blurry mental snapshots of your fellow travellers And so it is with this collection of A L Kennedy vignettes In virtually every tale the reader arrives in medias res — you pass through gates straight into the midst of the action such as it may be trying to guess at characters motivation context relationships tone; and as each story concludes you never uite know if you’ve got a handle on it all if your grasping at the situation attains something substantial or merely thin air Sometimes a story reflects this seeming lack of substance in ‘Failing to Fall’ the narrator allows others to dictate what happens to him but remains lost and directionless when not told to get into a taxi to who knows where In ‘Armageddon Blue’ the protagonist is literally all at sea with her life having cast off her previous relationships and – in hope than in certainty – seeking both landfall and answers in the near future And in the title story of the collection a young man is looking for his lost self — will he find it back with what remains of his family at the edge of the world where the land merges with the sea and the sky We sincerely hope so though even with the final “It’s all right” we can never be sureWithin these taut and often terse mini portraits we range the world from Kennedy’s adopted home of Glasgow to London from Wales to Paris and from rural America to an ocean cruise In similar scenes we glimpse individuals – a fatuous guru a twisted puppeteer an underage prostitute a ballet dancer — all with hopes and fears but each one ultimately lonely or alone contemplating abandonment past and present abuse creeping age and certain death Frighteningly Kennedy is able to get into the heads of fundamentalists sociopaths and psychopaths and see the world from their warped point of view from the controlling parents in ‘A Perfect Possession’ to the committed guerrilla in ‘The Boy’s Fat Dog’ from the fan verging on stalker in ‘Warming My Hands And Telling Lies’ to the serial killer’s lover in ‘Mixing With The Folks Back Home’You might think that it’s all bleakness in these tales but there is some leavening We have a perfect take on the paranormal in ‘Christine’ humour in ‘On Having More Sense’ and satire in the rather strange ’The Mouseboks Family Dictionary’ But there is something sad about the collection as a whole hinting at the strangeness that resides in every one of us however much a view of normalcy we might try to project to the rest of the world The problem is I’m going to be a little anxious about getting into a lift in future if the world is really inhabited by disturbed or damaged people such as the ones that Kennedy so effectively portrays here It’s a tribute to her language and descriptive skills that we almost believe they inhabit our real world rather than merely residing in her imagination Now That You’re Back is an impressive but disturbing portrait gallery of characters both haunted and hauntinghttpwpmep2oNj1 D6 Nova Express (The Nova Trilogy, may or The Guardian (Nightwalkers may not be piued you MacKenzie Fire (Shine Not Burn, may wrinkle your nose at the smell or be embarrassed at the enforced intimacy however transient What you do know is that like any passenger in the lift you’re unlikely to be vouchsafed someone’s life story that your experience will only produce brief and probably blurry Octopussy mental snapshots of your fellow travellers And so it is with this collection of A L Kennedy vignettes In virtually every tale the reader arrives in The Master-Key to Riches medias res — you pass through gates straight into the The Maze midst of the action such as it One Way and Another may be trying to guess at characters Loves Denial (Warrior Camp, motivation context relationships tone; and as each story concludes you never uite know if you’ve got a handle on it all if your grasping at the situation attains something substantial or Life is a Dream merely thin air Sometimes a story reflects this seeming lack of substance in ‘Failing to Fall’ the narrator allows others to dictate what happens to him but remains lost and directionless when not told to get into a taxi to who knows where In ‘Armageddon Blue’ the protagonist is literally all at sea with her life having cast off her previous relationships and – in hope than in certainty – seeking both landfall and answers in the near future And in the title story of the collection a young The White Goddess man is looking for his lost self — will he find it back with what remains of his family at the edge of the world where the land E penguara merges with the sea and the sky We sincerely hope so though even with the final “It’s all right” we can never be sureWithin these taut and often terse The Santana Heir mini portraits we range the world from Kennedy’s adopted home of Glasgow to London from Wales to Paris and from rural America to an ocean cruise In similar scenes we glimpse individuals – a fatuous guru a twisted puppeteer an underage prostitute a ballet dancer — all with hopes and fears but each one ultimately lonely or alone contemplating abandonment past and present abuse creeping age and certain death Frighteningly Kennedy is able to get into the heads of fundamentalists sociopaths and psychopaths and see the world from their warped point of view from the controlling parents in ‘A Perfect Possession’ to the committed guerrilla in ‘The Boy’s Fat Dog’ from the fan verging on stalker in ‘Warming My Hands And Telling Lies’ to the serial killer’s lover in ‘Mixing With The Folks Back Home’You Plague Ship might think that it’s all bleakness in these tales but there is some leavening We have a perfect take on the paranormal in ‘Christine’ humour in ‘On Having More Sense’ and satire in the rather strange ’The Mouseboks Family Dictionary’ But there is something sad about the collection as a whole hinting at the strangeness that resides in every one of us however Flypaper much a view of normalcy we Colonel Sun (James Bond, might try to project to the rest of the world The problem is I’m going to be a little anxious about getting into a lift in future if the world is really inhabited by disturbed or damaged people such as the ones that Kennedy so effectively portrays here It’s a tribute to her language and descriptive skills that we almost believe they inhabit our real world rather than How the West Was Lost merely residing in her imagination Now That You’re Back is an impressive but disturbing portrait gallery of characters both haunted and hauntinghttpwpmep2oNj1 D6

Review Ï PDF, DOC, TXT, eBook or Kindle ePUB free Ø A.L. Kennedy

S define and deny their chosen identities While showing us the unlikeliness of intimacy and the impossibility of communication Kennedy also reveals the subversive libera having once written a love e mail in the form of a dictionary of poetic terms i have a weakness for alternative fictionalised glossaries the middle story 'the mouseboks family dictionary' is harrowing hilarious and deftly paced cross referenced she's a varied intelligent short story writer and there was a subtle charm to the rest of the stories i was drawn in but ultimately unsettled by them in not the best way weirdly similar in tone to 'the cement garden' by ian mcewan though by no means as icky i seem to be consistently creeped out by mid '90s brit fic so that's just me Misplaced Loyalty (Meredith & Hodge, mail in the form of a dictionary of poetic terms i have a weakness for alternative fictionalised glossaries the A Pocketful of Crows middle story 'the A Love Like Ours mouseboks family dictionary' is harrowing hilarious and deftly paced cross referenced she's a varied intelligent short story writer and there was a subtle charm to the rest of the stories i was drawn in but ultimately unsettled by them in not the best way weirdly similar in tone to 'the cement garden' by ian Tanduk Menjangan Merah mcewan though by no Kingdom Cult of Self means as icky i seem to be consistently creeped out by A Killers Christmas in Wales (Penny Brannigan Mystery mid '90s brit fic so that's just Mistress Mashams Repose me

A.L. Kennedy Ø 2 Summary

Tion of impotence the humour of discomfort as human beings chafe together the crazed claustrophobia of the family adn the wildly funny results of an eccentricity unleash There are two rules with a writer’s early works never start with them never review them They are good enough for the fans and the academics Laymen like you and me should stay awayWith AL Kennedy I am breaking both rules I should not particularly the second one Reviewing early works outside of academic publication is utterly unfair and this is whyThe author’s style is not yet mature her matter has not completely emerged from her teenage desire to express herself her thoughts are not entirely articulate Most of the stories in this collection suffer from their author’s shyness Her lack of confidence in her own writing is palpable It is most evidenced in Mixing With the Folks Back Home the only text where AL Kennedy actually shows none of this shyness and strolls among her characters with the wits and confidence of a Mark Twain This funny uirky and irreverent text is an oddity standing out among he collection as if written by someone else Where all the other texts show in their tone a consistency announcing the emergence of a personal style this one’s voice is completely different AL Kennedy was not even thirty when this was published Apparently the only way she could trust her skills at that time was by borrowing someone else’s voiceThe other stories are for the most part obscure Kennedy writes from inside her character’s head She writes diaries confessions; her texts are scarce on concrete details and detailed on emotions The action is always blur indistinct other people’s motives unclear as is the unfurling of the plot Her voice though is already here coldly lucid emotionally hurt resigned to the worst The deceptions of love the inadeuacy between language and feelings the violence of every day life It is as always with her an uncomfortable read albeit not devoid of humour But humour never dominates It is at best a temporary shelter from the chilling realities of being a humanFrom the early stages of her career AL Kennedy is a wounded soul who carries on exposing herself This is what makes her such a moving writer These early stories expose in full view the raw layers of feelings that constitute to this day her primary material They are a worthwhile read if you are already a fan But as the first rule dictates do not judge her by them If you are to start reading her start with Day A Pocketful of Crows me should stay awayWith AL Kennedy I am breaking both rules I should not particularly the second one Reviewing early works outside of academic publication is utterly unfair and this is whyThe author’s style is not yet A Love Like Ours mature her Tanduk Menjangan Merah matter has not completely emerged from her teenage desire to express herself her thoughts are not entirely articulate Most of the stories in this collection suffer from their author’s shyness Her lack of confidence in her own writing is palpable It is Kingdom Cult of Self most evidenced in Mixing With the Folks Back Home the only text where AL Kennedy actually shows none of this shyness and strolls among her characters with the wits and confidence of a Mark Twain This funny uirky and irreverent text is an oddity standing out among he collection as if written by someone else Where all the other texts show in their tone a consistency announcing the emergence of a personal style this one’s voice is completely different AL Kennedy was not even thirty when this was published Apparently the only way she could trust her skills at that time was by borrowing someone else’s voiceThe other stories are for the A Killers Christmas in Wales (Penny Brannigan Mystery most part obscure Kennedy writes from inside her character’s head She writes diaries confessions; her texts are scarce on concrete details and detailed on emotions The action is always blur indistinct other people’s Mistress Mashams Repose motives unclear as is the unfurling of the plot Her voice though is already here coldly lucid emotionally hurt resigned to the worst The deceptions of love the inadeuacy between language and feelings the violence of every day life It is as always with her an uncomfortable read albeit not devoid of humour But humour never dominates It is at best a temporary shelter from the chilling realities of being a humanFrom the early stages of her career AL Kennedy is a wounded soul who carries on exposing herself This is what Clementine Rose and the Famous Friend (Clementine Rose, makes her such a Six Degrees moving writer These early stories expose in full view the raw layers of feelings that constitute to this day her primary Peytons Ride (Riding With The Hunt, material They are a worthwhile read if you are already a fan But as the first rule dictates do not judge her by them If you are to start reading her start with Day