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Selected Stories, 1968-1994 (Anglais) Broché – 11 novembre 1997

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Descriptions du produit

Revue de presse

Praise from fellow writers:

“Her work felt revolutionary when I came to it, and it still does.” —Jhumpa Lahiri

“She is one of the handful of writers, some living, most dead, whom I have in mind when I say that fiction is my religion.” —Jonthan Franzen

“The authority she brings to the page is just lovely.” —Elizabeth Strout

“She’s the most savage writer I’ve ever read, also the most tender, the most honest, the most perceptive.” —Jeffery Eugenides

“Alice Munro can move characters through time in a way that no other writer can.”—Julian Barnes

“She is a short-story writer who…reimagined what a story can do.” —Loorie Moore

“There’s probably no one alive who’s better at the craft of the short story.” —Jim Shepard

“A true master of the form.” —Salman Rushdie

“A wonderful writer.” —Joyce Carol Oates

Présentation de l'éditeur


Spanning almost thirty years and settings that range from big cities to small towns and farmsteads of rural Canada, this magnificent collection brings together twenty-eight stories by a writer of unparalleled wit, generosity, and emotional power. In her Selected Stories, Alice Munro makes lives that seem small unfold until they are revealed to be as spacious as prairies and locates the moments of love and betrayal, desire and forgiveness, that change those lives forever. To read these stories--about a traveling salesman and his children on an impromptu journey; an abandoned woman choosing between seduction and solitude--is to succumb to the spell of a writer who enchants her readers utterly even as she restores them to their truest selves.

Détails sur le produit

  • Broché: 688 pages
  • Editeur : Vintage; Édition : Reprint (11 novembre 1997)
  • Collection : Vintage International
  • Langue : Anglais
  • ISBN-10: 067976674X
  • ISBN-13: 978-0679766742
  • Dimensions du produit: 13,2 x 2,9 x 20,2 cm
  • Moyenne des commentaires client : 3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 278.540 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par linamar le 7 décembre 2013
Format: Format Kindle Achat vérifié
I am so glad that Ms Munto received the Nobel prize. I would have missed her remarkable stories otherwise. Very enjoyable
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1 internautes sur 2 ont trouvé ce commentaire utile  Par Jean Corbel le 10 novembre 2013
Format: Format Kindle Achat vérifié
I picked this selection as Munro was awarded Nobel prize.
I was not disappointed, the style and short story structure is highly mastered, and she creates a very sensitive little world with each sensible story.
Yet 3 stars only? well, I expected some sparkle of genius or at least something beyond great craftsmanship... and I did not find it. My failure?
Honestly, I prefer S Maugham by far...
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79 internautes sur 83 ont trouvé ce commentaire utile 
Exquisite, but... 4 janvier 2003
Par Miles D. Moore - Publié sur
Format: Broché
Alice Munro is rightfully considered to be one of the greatest short-story writers in the English-speaking world. Certainly a story like "The Progress of Love," in this volume--a rich, poignantly ironic delineation of the selectivity of memory--is proof enough that Munro is as great as her reputation would have it, and that she is one of the few living writers who deserves to be mentioned in the same sentence as Chekhov. Nevertheless, plowing through her Selected Stories is like gorging on a box of chocolates; you'd be a lot better off savoring just one or two at a time. The maiin problem is that Munro's subject range is narrow. How many stories can you read in one sitting about women from impoverished small-town Ontario, who are misunderstood and often brutalized by their families, boyfriends and husbands? (The reviewers who called Munro's women weak are misreading the stories severely; these women could have hauled the wounded Titanic to port, 2,000 passengers and all, single-handedly. They have the clemency of the very strong, which unfortunately means that weaker, more spiteful souls can walk all over them.) Yet within each story, Munro's elegant, lucid prose style and encyclopedic knowledge of the human mind and heart make themselves felt. I will reread stories such as "Material," "Chaddeleys and Flemings," "Dulse," "The Turkey Season" and "The Beggar Maid" with joy and admiration for their perfect artistry. But I'll have to wait to reread stories such as "Labor Day Dinner," which after an unrelieved diet of Munro stories can almost seem like a parody of the author. Do yourself a favor; buy this wonderful book, but savor its delights sparingly, as you would a box of Godivas.
63 internautes sur 71 ont trouvé ce commentaire utile 
Munro is a saint, but begin your worship elsewhere 12 juin 2010
Par SP - Publié sur
Format: Belle reliure
Of course I don't have to tell you what any other review will: first, that Munro is among the greatest, if not THE greatest, living writer of short stories in English. The comparison that so many reviewers draw between her work and Chekhov's isn't just lazy journalism, but an entirely accurate summation of the profound influence she has quietly made on contemporary fiction. I say "quietly" not just because she has a strangely small readership outside of Canada, but because of her astounding subtlety; she follows all the "rules" of writing fiction that you learn in workshops just as often as she breaks them, giving the novice reader the impression that her stories are either overly studied or amateurish (a reaction that many have, I might add, to reading Chekhov). How wrong you'll realize you are.

Second, you don't need me to tell you that these stories probably are Munro's best. So why only three stars? Munro is unique among short story writers in giving each collection that she publishes a carefully designed structure: despite the many plots of its individual stories, a Munro book has a cohesive arc that unifies the collection into a seemingly connected narrative. Publishing a selection of her work feels a bit like printing only the juicier moments of Mrs. Dalloway or To the Lighthouse and billing the book as Virginia Woolf's Greatest Hits, or marketing a compilation of only the more exciting movements from his symphonies as The Best of Beethoven. If you're looking for an introduction to Munro, there's nearly nowhere to go wrong in her catalog, but anything from The Moons of Jupiter to The View from Castle Rock is especially sure to be a gem.
56 internautes sur 64 ont trouvé ce commentaire utile 
Why I don't care for Alice Munro stories 5 juin 2013
Par K. Bunker - Publié sur
Format: Format Kindle
I love literary fiction short stories, but over and over again I've found myself left cold and unmoved by Alice Munro stories. This puzzles me, since Munro has been widely hailed as one of the greatest short story writers of our time, and I'm a great fan of some of the writers she's been compared to: Chekhov, Mansfield, Joyce. So in an attempt to delve into this puzzle I decided to read a goodly batch of Munro stories; perhaps (I thought) I'd grow to appreciate what so many others seem to love in this author, or perhaps I'd come to understand what it is about her stories that I don't like. As it turned out, the conclusion of my experiment was more along the lines of the second item.

It seems to me that the failings of Munro stories come down to two huge absences: humor and passion.

Humor: There is an almost complete lack of humor in Munro's stories. Reading her, I was paradoxically reminded of something David Sedaris said recently about Lorrie Moore's stories: "There's joke after joke after joke, and yet when you get to the end, you're just devastated." To me, Alice Munro is the exact polar opposite of Lorrie Moore in that respect. Most of her characters are humorless prigs who go through life in a perpetual grumpy funk, and when you get to the end of their story... well, speaking for myself, I'm glad to be done with them.

Passion: Munro seems to shy away from strong emotions. I'm not looking for romance-novel heaving bosoms and rending of bodices, but just some occasional clear, sharp, strong feelings in a character or narrative. Certainly Munro makes use of emotions; many -- perhaps most -- of her stories seem to engage in an almost mathematical complexity of shifting feelings: When character A is under circumstances B and C, she reacts with emotions X and Y. Later, when her circumstances change to D and E, her emotions become W and Z. And it's usually all very convincing and realistic, but there's no _life_ to these mathematical constructions. We see and understand how people feel, but they're rarely feelings of any intensity, and when they are we don't share those feelings. We're just told about them from a long, cold distance. For just one example, in "The Beggar Maid" a man supposedly loves the protagonist, but we only see this character through the detached gaze of the protagonist, whose feelings are ambivalent at best. It's typical in a Munro story for characters to get married out of listless inertia rather than love, and then to grind their way to an inevitable divorce. Often when something intense happens, such as a birth, marriage, or death, the narrator is literally distant. She reads about the event in a letter or hears about it second hand, and then it's dryly passed along to the reader. In addition to letters, another favorite distancing device of Munro's is newspaper clippings. In "Menesteung," for example, we learn about the deaths of the two main characters via their newspaper obituaries. (This could have been poignant, if it had been in contrast to the rest of the story -- that is, if we'd ever gotten close to these characters, but we never did.) And yet another distancing device is unreliable memory: A character will recall some deeply moving event, and then later the memory will be called into question, with the character admitting she must have imagined some of the very details that made the memory intense.

In talking about writing, Robert Olen Butler has often repeated a quote from Akira Kurosawa: "An artist is someone who does not avert his eyes." It seems to me that Munro habitually averts her eyes. Whenever situations threaten to get too intense, she diffuses them, she backs away, she averts her eyes.

The above, of course, is a series of generalizations; things that I feel apply to "typical" Munro stories. Contrary to those generalizations, there are a rare few Munro stories that I've found moving and wonderful (in particular, two that aren't in this collection: "Floating Bridge" and "The Bear Came Over the Mountain"). And I still wonder if some day the scales will fall from my eyes and I'll see something human and beautiful in all the Munro stories that now seem to me more like precise little painted dolls -- neatly constructed, but lacking in the stuff of life.
11 internautes sur 11 ont trouvé ce commentaire utile 
It's all right to giggle at a funeral 30 mars 1997
Par Un client - Publié sur
Format: Relié
I was thoroughly entranced and mesmerized by these stories. Ms. Munro accomplishes
what has to be the most beautiful and difficult task in
fiction--illuminating the darkest corners of human nature.
I don't mean dark as necessarily evil, but dark as in the
sides of oneself no one talks about, or even knows is there.
"Fits" is a perfect example of this.
I read the stories out of order, which produced an interesting
effect. They do have a chronology. The opening pieces
are very different from the ones at the end.
11 internautes sur 12 ont trouvé ce commentaire utile 
Is there a better storyteller in the world? 27 juillet 2000
Par Un client - Publié sur
Format: Broché
Absolutely not! In these stories Munro shows how complete stories can be; these feel like novellas, not stories. "Dance of the Happy Shades," is spectacular (particularly as it was one of her earliest stories); the paragraph describing the music teacher sitting by the piano as the retarded girl played absolutely took away my breath. This collection is just teeming with riches. Read "The Beggar Maid" immediately, and then proceed directly to "Fits" and "Material." There isn't a weak link in this collection. Munro's style at first may seem bland, but she pulls you right into these characters' lives and offers surprising insights on the emptiness of extramarital affairs after their initial euphoria. Her characters are all a little disappointed with the world, but filled with wistfulness, too. I can't think of more sensitive portraits of women than these stories. I hope she keeps writing for another forty years.
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