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New York Stories Of Elizabeth

Elizabeth Hardwick Darryl Pinckney

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Paperback

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English
New York Review of Books
01 June 2010
Elizabeth Hardwick was one of America's great postwar women of letters, celebrated as a novelist and as an essayist. Until now, however, her slim but remarkable achievement as a writer of short stories has remained largely hidden, with her work tucked away in the pages of the periodicals-such as Partisan Review, The New Yorker, and The New York Review of Books-in which it originally appeared. This first collection of Hardwick's short fiction reveals her brilliance as a stylist and as an observer of contemporary life. A young woman returns from New York to her childhood Kentucky home and discovers the world of difference within her. A girl's boyfriend is not quite good enough, his ""silvery eyes, light and cool, revealing nothing except pure possibility, like a coin in hand."" A magazine editor's life falls strangely to pieces after she loses both her husband and her job. Individual lives and the life of New York, the setting or backdrop for most of these stories, are strikingly and memorably depicted in Hardwick's beautiful and razor-sharp prose.
By:  
Introduction by:  
Imprint:   New York Review of Books
Country of Publication:   United States
Dimensions:   Height: 202mm,  Width: 128mm,  Spine: 14mm
Weight:   225g
ISBN:   9781590172872
ISBN 10:   1590172876
Pages:   300
Publication Date:  
Audience:   General/trade ,  ELT Advanced
Format:   Paperback
Publisher's Status:   Active

Elizabeth Hardwick (b. 1916) has been a frequent contributor to The Partisan Review, The New Yorker, and The New York Review of Books, which she helped found in 1963. Her books include the novels The Simple Truth, The Ghostly Lover, and Sleepless Nights, the essay collection A View of My Own, and The Selected Letters of William James, for which she acted as editor. Darryl Pinckney is the author of a novel, High Cotton, and Out There: Mavericks of Black Literature.

Reviews for New York Stories Of Elizabeth

Lapidary and strange, these pieces are virtually free of narrative, depicting characters whose central failure is an inability to plot their own lives. Abstract nd impersonal, the prose fairly gleams in these pages. Guardian Weekly


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