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Walk the Blue Fields

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Our narrator receives a phone call early the next morning, a visitor wishing to present himself - he's actually outside the cottage. Our un-named narrator puts him off until 8 p.m., and what follows are the small preparations and the ways in which she occupies the free time of her first day. But it is beautifully done. I think Keegan with-holds the woman's name, because it then becomes so easy for the reader to slip herself into the story. A small extract: In spare and exact strokes, Keegan transforms these domestic circumstances into universal mirrors. Easy to devour in a single sitting but likely to haunt you for years.” — Oprah Daily, Best Short-Story Collection of 2023 A collection of seven stories exploring themes of families, emotions, secrets, memories - not all of them welcome ones, and love that is taboo, morally, religiously as well as legally. Sometimes everybody was right. For most of the time people crazy or sober were stumbling in the dark, reaching with outstretched hands for something they didn’t even know they wanted.’ Th descriptions and characterizations in these stories all have elements of tragedy …. sadness that can turn skin blue.

Bu tür öykülerde hem yabancı hem tanıdık şeyler buluyorum. Bir öykü kişisinin "ayaksuyunu" dışarı dökmezse eve uğursuzluk geleceğine dair inancı bana tuhaf gelse de bu inancın arkasında tanıdık bir geçmiş görüyorum. Powerful . . . The two foremost contemporary masters of the [short story] form, Alistair MacLeod and John McGahern, know that tradition can live even in the lament for its passing . . . Claire Keegan is their true successor, a writer already touched by greatness.” –Declan Kiberd, The Irish Times

Contains

Fragments of his time…cross his mind. How lovely it was to know her intimately. She said self-knowledge lay at the far side of speech. The purpose of conversation was to find out what, to some extent, you already knew. She believed that in every conversation, an invisible bowl existed. Talk was the art of placing decent words into the bowl and taking others out. In a loving conversation, you discovered yourself in the kindest possible way, and at the end the bowl was, once again, empty.’ - from ’Walk the Blue Fields He has never understood the human compulsion for conversation: people, when they speak, say useless things that seldom if ever improve their lives. Their words make them sad. Why can't people stop talking and embrace each other? Foster is exactly as sad as you imagine it would be, but more stunningly alive than you have any right to expect. Its language settles in your belly and then your bones only seconds after it has passed your eyes… Keegan’s world is lush and full, the details delicately made, ever more rewarding and engaging with every read… While the scale of her story is modest — this one small girl, this short stretch of time — the scope of what Keegan can hold inside of it — the ache of living, the flash of seeing finally what we don’t have, the mourning for all we’ll never be — is as big, brash and ambitious as a story might be.”— Los Angeles Times

Keegan’s output is scarce and her stories are as spare as they are heartrending, whittled down to the essential. If she has published anything that isn’t perfect, I haven’t seen it… More than most books four times its size, Foster does several of the things we ask of great literature: It expands our world, diverting our attention outward, and it opens up our hearts and minds. This is a small book with a miraculously outsized impact.”— NPR With that said, the writing quality is impressively high and the prose in many of the stories fairly sings in the description of rural Irish life. The first two tales in this collection are among the finest short fiction I have read in several years, which includes the new tales in John McGahern’s posthumous New and Selected Stories. That’s how good Keegan can be. The remarkable title tale follows a priest on the day of a wedding . . . “Parting Gift,” which opens the book, is a gem of compactness. . . . Its centre of gravity resonates with such force that the story could easily stretch to a novel.” –Tom Adair, The Scotsman In the title story, probably the best one, a priest waits at the altar to perform a marriage, but over time we realize he once had had an affair with the bride. This leads him, of course, to intense reflection/grief on those memories and his life choices, even as he observes her struggles through the whole ceremony:Sanırım porsuk ağacı gördüğüm zaman üçüncü okumamı da yapmış olacağım. Çünkü onun da adı kitapta geçmekte:) In another good story, “The Forester’s Daughter,” a woman marries a simple man, initially resistant to marry him because she doesn’t love him, and so you know how this works out, in spite of the birth of children over the years. Women’s minds were made of glass: so clear and yet their thoughts broke easily, yielding to other glassy thoughts that were even harder. It was enough to attract a man and frighten him all at once. from - Surrender (after McGahern) Claire Keegan’s brilliant debut collection, Antarctica , was a Los Angeles Times Book of the Year, and earned her resounding accolades on both sides of the Atlantic. Now she has delivered her next, much-anticipated book, Walk the Blue Fields , an unforgettable array of quietly wrenching stories about despair and desire in the timeless world of modern-day Ireland. In the never-before-published story “The Long and Painful Death,” a writer awarded a stay to work in Heinrich Böll’s old cottage has her peace interrupted by an unwelcome intruder, whose ulterior motives only emerge as the night progresses. In the title story, a priest waits at the altar to perform a marriage and, during the ceremony and the festivities that follow, battles his memories of a love affair with the bride that led him to question all to which he has dedicated his life; later that night, he finds an unlikely answer in the magical healing powers of a seer.

Seven perfect short stories” from the award-winning author of Antarctica—“a writer who is instinctively cherished and praised” ( The Guardian, UK). Keegan’s evocative prose takes you so far into each story that your senses buzz afresh with them.” – The List

Rating

For non-Irish, terms and even entire sections of dialog can be hard to follow or downright unintelligible, making it difficult to appreciate scenes or interactions which may (or may not) be key to understanding. Claire Keegan's brilliant debut collection, Antarctica, was named a Los Angeles Times Book of the Year and earned her resounding accolades on both sides of the Atlantic. She continues her outstanding work with this new collection of quietly wrenching stories of despair and desire in modern-day Ireland. Once again — Claire Keegan’s outstanding immersive writing is layered deeply with disturbing complexity. As usual, I loved the first and last stories, but I also liked the feminist strain in these stories--the unwanted visitor, the wayward priest, the unloving husband. I like the exploration of desire/lust as shaping lives, and the place of quirky Irish characters (reminded me a bit of Flannery O-Connor here) and the rich presence of Irish myth. The best collection of short stories by any Irish writer in recent years. These are strange, haunting, sometimes funny tales, utterly unique in their way of seeing life. I can’t remember the last time I felt such awe when reading the work of a new writer.” – The Week

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