Homes’s keen ear for speech—surreal as her characters’ conversations often are—lends itself to varying degrees of self-aware misunderstanding, highlighting the complexity of language and the challenges . . . The impossibility of knowing another person completely is one of life’s painful truths, and [this] collection remind us of that—but [it] also shows that there are, at least, tools available to help us try.” — Vanity Fair

tipik beyaz dertleri özel spor hocaları, beslenme uzmanları, koşu bantlarıyla geçen misler gibi bir hayat, evinin önünde bir yarık (metafora tikel) açılmasıyla sekteye uğruyor. Is everything all right?" the girl's mother asks, arriving after the fact. "I was in the Valley. The traffic was horrible."burada yazarın dalga geçtiği şey amerikalıların kendileri dışında her şeyde çözüm aramaları. beslenme takıklıkları bizde yeni moda olanlara çok benziyor. sözde sessizlik kampına egolardan arınmaya gidiyorlar minder yerlerini bile paylaşamıyorlar, öteki olmak hakkında hiçbir fikirleri yok, yoksulları anlamıyorlar.

Often I have a title before I start to work—but this time, I wasn’t sure. I finished the novel and gave it to my agent who said, I love it, what’s it called. And I blurted out, “This Book Will Save Your Life,” which I hope holds true. It saved Richard Novak’s life—he is far happier and more fulfilled at the end. Richard’s son, Ben, has been deeply affected by his father’s absence in his life. Discuss the ways in which their relationship evolves during Ben’s time in Malibu. I think this brave story of a lost man’s reconnection with the world could become a generational touchstone, like Catch-22, The Monkey Wrench Gang, or The Catcher in the Rye. . . . And hey, maybe it will save somebody’s life.”–Stephen King Richard goes outside, stands with his feet on the edge of the hole—it is definitely deeper than it was two hours ago. The horse looks up. Early on in the novel, Richard describes his eating habits and himself as “Mr. Healthy”: “I eat cereal that the nutritionist makes for me; it tastes like wood chips. I drink Lactaid milk. I never break the rules.” From his neighbor’s intravenous vitamin infusions to the assortment of pies proffered as goodwill tokens, food and eating take on a peculiar glow in the novel. In what ways does Homes use food and eating—sustenance—as a metaphor?This one made me stop and think. It made me seriously reflect about decisions I have made in my life and the impact my actions had on others, such as my kids. Sure, we sometimes think about these things, BUT this book made me REALLY think about it, wallow in it, really think of the consequences of my actions. To be sad in the moment. To be uncomfortable. To not like myself While the girl is on the phone, the movie star talks to Richard. "I don't trust this hole. We need a helicopter to lift the horse out of the hole. How does that sound?" In the garage there's a garden hose, a lounge chair, a tall wooden door, a bag of sand and an old pair of skis. He imagines putting the horse on skis and pulling it up the hill with a rope, like an old-fashioned toy horse on wheels, but he doesn't really think that'll work. He carries the door to the hole, and with the girl's help, they position it. Four men who meet as college roommates move to New York and spend the next three decades gaining renown in their professions—as an architect, painter, actor and lawyer—and struggling with demons in their intertwined personal lives. For every time I started to think this book was just lightly entertaining there would come a scene so real and brutal it would hurt a bit. Broken child-parent relationships. Exes whose scent still lingers. Women sobbing in the produce section of a supermarket.

onun dışından panik atak sonrası yüzleşmesi gereken şeyler olduğunu fark ediyor ve kardeşine gidiyor, oğlunu evine davet ediyor, sessizlik yemini edilen bir kampa gidiyor filan. You are a writer living in New York. What is it about Los Angeles that attracts you to it as a setting for fiction? They get in line for the driving ride. You must be at least three years old and so high to go on this ride. There’s this great scene towards the end. Richard takes his 17 yr. old estranged son to DisneyLand. You can see that Ben is fighting something, trying to recapture some sense of his lost childhood. He’s fighting with his father, yelling at him while riding the teacups or waiting for Space Mountain and Richard is taking it, feeling like he deserves it. Ben’s trying to work out all these emotions, worried about an expiration date or something---afraid to see this day end. And there’s this scene: This book left me cold. Not indifferent-this-is-failing-to-evoke-a-reaction cold. The good kind of cold. The this-feels-eerily-close-to-reality cold.

This is the start of a sequence of events that make Raiders of the Lost Ark look like a walk through your local library. Richard has been celibate for quite some time until he meets Sydney. What does it mean to try to start a new relationship after having been single for so long? This is the dicey part," the stunt director says over the walkie-talkie. "We have to land him gently. The second the horse has all four legs on the ground he's going to want to bolt. You have to get the cable off so he doesn't drag us. You have to get the cable." yani ben amerikan edebiyatını çok severim, özellikle öyküleri. ama para içinde yüzen pembe götlü amerikalıların bu bomboş dertleri ve aile sorunlarıyla yüzleşmeleri beni artık etkilemiyor. sorry.

Fascinating . . . I consumed these stories exactly like a spectator of a good fight or a neighbor peering through the hedge, and I felt sharply observed in turn. Homes, with her fierce sharp wit, reveals her characters’ deep flaws. No one gets away with anything and the spectacle is delightful.” —Molly Livingston, The Paris Review Daily Her work has been translated into eighteen languages and appears frequently in Art Forum, Harpers, Granta, McSweeney's, The New Yorker, The New York Times, and Zoetrope. She is a Contributing Editor to Vanity Fair, Bomb and Blind Spot. Darkly funny…the moments shared between this ad hoc family are the novel’s most endearing…Homes’ signature trait is a fearless inclination to torment her characters and render their failures, believing that the reader is sophisticated enough – and forgiving enough – to tag along.”—Katie Arnold-Ratliff, Time Magazine With dark humor and sharp dialogue, Homes plumbs the depths of everyday American anxieties through stories about unexpected situations.” — TimeAn absolute masterpiece . . . Homes writes ecstatically, and like no one else.”– The Philadelphia Inquirer