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'A striking new collection of accessible yet elegant stories from literary giant and master craftsman CK Stead
'A striking new collection of accessible, elegant stories from literary giant and master craftsman C.K. Stead.
'Gathered from throughout Stead s career, these stories are a reminder of his deft storytelling and literary power. They are clever, sensual, wry and beautifully written, with Stead s subtle sense of humour evident at every turn.
'The collection can be read as a meditation on the writerly life, and includes a number of new, previously unpublished stories, including Last Season s Man , which won the Sunday Times EFG Short Story Award, as well as older stories that have been revised and rewritten. Set in locations as diverse as the South of France, Sydney, Zagreb, Auckland, San Francisco and Oxford, each story is vividly drawn.
'This extraordinary collection, along with Stead s appointment as New Zealand Poet Laureate, confirms his position as one of our most exceptionally talented writers.' (Publication summary)
Notes
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This work is included in AustLit because it contains some Australian themes/settings.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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[Review Essay] The Name on the Door Is Not Mine
2017
single work
— Appears in: The Saturday Paper , 25 February 2017; 'Karl Stead is in his 80s now and for as long as anyone can remember he has been New Zealand’s leading literary critic. It was in the 1960s that he wrote The New Poetic, a book that shed light on T. S. Eliot by suggesting that The Waste Land was a poetry of breakdown and Four Quartets was a very uneven work not simply amenable to recuperation by the suggestion that it was deliberately so. ' (Introduction)
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[Review Essay] The Name on the Door Is Not Mine
2017
single work
— Appears in: The Saturday Paper , 25 February 2017; 'Karl Stead is in his 80s now and for as long as anyone can remember he has been New Zealand’s leading literary critic. It was in the 1960s that he wrote The New Poetic, a book that shed light on T. S. Eliot by suggesting that The Waste Land was a poetry of breakdown and Four Quartets was a very uneven work not simply amenable to recuperation by the suggestion that it was deliberately so. ' (Introduction)
