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Beginning in childbirth and entered like a multiple dwelling in motion, Women and Men embraces and anatomizes the 1970s in New York - from experiments in the chaotic relations between the sexes to the flux of the city itself. Yet through an intricate overlay of scenes, voices, fact, and myth, this expanding fiction finds its way also across continents and into earlier and future times and indeed the Earth, to reveal connections between the most disparate lives and systems of feeling and power. At its breathing heart, it plots the fuguelike and fieldlike densities of late-twentieth-century life.McElroy rests a global vision on two people, apartment-house neighbors who never quite meet. Except, that is, in the population of others whose histories cross theirs believers and skeptics; lovers, friends, and hermits; children, parents, grandparents, avatars, and, apparently, angels. For Women and Men shows how the families through which we pass let one person's experience belong to that of many, so that we throw light on each other as if these kinships were refracted lives so real as to be reincarnate.A mirror of manners, the book is also a meditation on the languages, rich, ludicrous, exact, and also American, in which we try to grasp the world we're in. Along the kindred axes of separation and intimacy Women and Men extends the great line of twentieth-century innovative fiction.
A long-ago kidnaping case all but abandoned resurfaces, yet its memory of lives put aside almost screens itself with a population of new life. Neighborhoods of New York, of Brooklyn Heights, a larger uncertain and disturbing America of the 1960s, this fable of a man¿s obsession revisits people as clues while at the center, with deceptive scope, his temporarily estranged wife¿s voice gathers and regathers what it is that he and she and their child have curiously going for them. All these unfolding circles of understanding in a mixed language distinctly American, by turns satirical, lyrical, eccentric, even a solvent at times simplifying the prevailingly urban as bucolic. A city pastoral Joseph McElroy called his second novel when it first appeared in 1969; now, a half century later, we may experience in Hind¿s Kidnap a society reaching outward almost like a planet at risk, persons who would be dekidnaped to become ends in themselves, fiction as prophecy.
Best known for his complex and beautiful novels-regularly compared to those of Thomas Pynchon, William Gaddis, and Don DeLillo-Joseph McElroy is equally at home in the short story, having written numerous pieces over the course of his career that now, collected at last, serve as an ideal introduction to one of the most important contemporary American authors. Combining elements of classic McElroy with tantalizing stories pointing the way ahead (the spare and dangerous "e;No Man's Land,"e; the lush and mischievous "e;The Campaign Trail"e;), Night Soul and Other Stories presents a wide range of work from a monumental artist.
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