• Пожаловаться

Joanna Walsh: Vertigo

Здесь есть возможность читать онлайн «Joanna Walsh: Vertigo» весь текст электронной книги совершенно бесплатно (целиком полную версию). В некоторых случаях присутствует краткое содержание. год выпуска: 2015, категория: Современная проза / на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале. Библиотека «Либ Кат» — LibCat.ru создана для любителей полистать хорошую книжку и предлагает широкий выбор жанров:

любовные романы фантастика и фэнтези приключения детективы и триллеры эротика документальные научные юмористические анекдоты о бизнесе проза детские сказки о религиии новинки православные старинные про компьютеры программирование на английском домоводство поэзия

Выбрав категорию по душе Вы сможете найти действительно стоящие книги и насладиться погружением в мир воображения, прочувствовать переживания героев или узнать для себя что-то новое, совершить внутреннее открытие. Подробная информация для ознакомления по текущему запросу представлена ниже:

Joanna Walsh Vertigo

Vertigo: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Vertigo»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

Walsh’s penetrating short story collection evokes the titular feeling of dizziness. “I sense no anchorage,” the narrator says in the title story, “I will pitch forward, outward and upward.” It’s a statement true of both the writing and the women in it; all share a detached tone, as if speaking from the end of a tunnel, and what one character describes as “uncontrol,” lives lived in language more than action. This continuity of tone often makes it difficult to tell where one narrative drops off and another begins, as the stories are linked loosely together in flashes of syntax, which read like poetry and sometimes retreat into italicized, third-person meditations. In “Claustrophobia,” a woman’s relationship with food runs parallel to her relationship with her mother. In “New Year’s Day” a woman’s description of a party where “everyone knew how to keep some distance” is joined to her lover’s recounting, a moment later, of all the women he’s cheated on her with. “Online” is about a woman who discovers her husband has been online dating. Any navigational difficulties are worthwhile, as Walsh is an inventive, honest writer. In her world, objects may be closer and far more intricate than they appear; these stories offer a compelling pitch into the inner life.

Joanna Walsh: другие книги автора


Кто написал Vertigo? Узнайте фамилию, как зовут автора книги и список всех его произведений по сериям.

Vertigo — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «Vertigo», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема

Шрифт:

Сбросить

Интервал:

Закладка:

Сделать

He says,

“They have too many tables.”

We must also consider the number of staff the restaurant can afford to retain over the winter months, which we hope may remain steady although the population of the island must shrink by — what? — fifty — what? — seventy percent — and during which the catch of oysters may remain the same or may increase because the winter months are more likely to contain the letterrduring which it is said oysters are best eaten, since during their spawning season, which is typically the months not containing the letterr,they become fatty, watery, and soft, less flavorful than those harvested in the cooler, non-spawning months when the oysters are more desirable, lean and firm, with a bright seafood flavor, so that, although all the tables in the restaurant will not be filled in those winter months during which the population of the island shrinks by — what? — forty-five — what? — eighty percent — we may hope that the number of serving staff employed by the restaurant will remain steady.

Theories:

* During the off-months for the visitors, which are the on-months for the oysters, are the oysters packed in ice or tinned, and shipped to Paris?

* During the off-months for the visitors, which are the on-months for the oysters, do the serving staff shuck shells?

Or

* During the off-months for the visitors, which are the on-months for the oysters, are the restaurant, and the oysters, abandoned, and the staff laid off?

The waitress passes our table again. She does not stop.

He says, “I think these are summer staff. They don’t know what they’re doing.”

In another country my husband may be sleeping with another woman. He may have decided, having the option, being for once in the same city as her, finally to sleep with the woman with whom I know he has considered sleeping, although he has not slept with her up to now. It is lunchtime. Where my husband is, it is not lunchtime yet. If my husband sleeps with the woman he will do so in the evening. As he has not yet done so, as he has not yet even begun to travel to the city where she lives, to which he is obliged to travel for work whether he sleeps with her or no, and as I am here in the oyster restaurant at lunchtime in another country, there is nothing I can do to prevent this.

The man sitting opposite me, looking out at the sea the seaweed the rubbish the seagulls the stork the stones, all of which I cannot see but which I know is behind me, does not want to wait for his oysters any longer. He has come here to relax but the oysters are too relaxed for him. He says, “Do you want to leave?” He half gets up as though about to leave but does not.

He wants to punish someone for the oysters’ slow pace. He wants to punish the waitress, who has not brought his order, by leaving. As he is facing the sea, he cannot signal to the waitress, so he wants to punish me by leaving. He does not leave. Because he does not leave, he wants to punish someone (the waitress? me?) by failing to enjoy his lunch.

Already he has asked the waitress several things. In the queue for tables he asked the waitress for a table although he was not yet at the front of the queue. When he asked, he did not ask her but he said, Excusez-moi, which means, May I get through? , then he asked, Pardon? which means, I’m sorry? , then he made a noise that sounded French and indicated the tables with his hand. Then he asked, Oui? Oui? which means, Yes? Yes? Then he asked me to ask the waitress for a table.

Each time a group of people passed along the path by the restaurant, on bikes or on foot, he looked at them anxiously in case they were able to join the queue, but be seated at a table before him. There are two entrances to the restaurant, both of which are visible from the door, and he watched both carefully to make sure no one bypassed the queue. When he arrived at the front of the queue, he made a false start toward a table, but the waitress did not respond. He did not repeat this movement so as not to abandon his position at the front of the queue. He stood squarely at the front of the queue so that no one could pass until another waitress arrived to give him a table.

He has made an enemy of the first waitress. She will enjoy serving her enemy. Perhaps he too will enjoy this combat. I do not enjoy combat with waiters and waitresses although I am now, by association, also her enemy.

Now he is here, seated at the table that looks out at the sea. It is the table he indicated, the table he desired, from which he can see the sea the beach the seagulls the stork the mother the stones the toddler the seaweed the rubbish and, at the other side of the table interrupting his view of all these things, me.

He says,

“I want to leave.”

He says,

“Do you want to leave?”

He gets up from the table.

He sits down at the table.

He stands up and walks from the table to the nearest door of the restaurant, during which time the waitress brings the drinks.

Though I am able in some part to share his anxiety about the table the drinks the oysters I find, because he is so angry, that I can face their delay with complete equanimity.

The tables are each made from a semi-circular length of half the trunk of a tree set on wooden trestles. The high stools are of brightly colored powdered metal. Above the tables, the umbrellas of natural straw spell relaxation.

He is not keen to relax. He is keen to get on. He is already late for his next station of relaxation, for the beach, where we have an appointment to meet some friends of his at a strict hour. He is worrying that we will be late, that they will be anxious, that they, that he, will not be able to relax. He takes out his phone to check the time. We must be on time for the deckchair, the towel.

A speedboat drives directly at the restaurant from the sea, so directly that I can see neither its sides nor any perspective, only its prow and the foam it generates. On its prow sit two people, a man and a woman, perfectly tan in black surf suits, and for a long time it looks like the boat will not stop and will continue to drive toward the restaurant, arriving, unlike the people passing on the path on the other side of the restaurant by bike or on foot, through neither of the restaurant’s doors but directly through the tables, bypassing the queue entirely.

He gets out his phone and checks the time again. About this time my husband must be leaving for the city that is home to the woman with whom he has been thinking of sleeping. As I know my husband is unlikely to tell me the truth about whether he sleeps with the woman or not — though he may choose either to tell me that he has, when he has not, or that he has not, when he has — I have taken the precaution of being here in the oyster restaurant with this man who may wish to sleep with me. As my husband knows that I know he is unlikely to tell me the truth about the woman with whom he will or will not have slept, so that, even if he tells me the truth, I will be unable to recognize whether or not he is being truthful, he must believe that if he sleeps with the woman, he will sleep with her entirely for his own pleasure. I, if I sleep with the man who is sitting opposite me at the restaurant, though I will not lie about whether I have slept with this man or not, will be unable to tell my husband anything he will accept as truthful, so must also, by consequence, make sure that, if I sleep with this man, it must be entirely for my own pleasure too.

The speedboat has turned and the people in it, revealed to be six in number, all uniformly and perfectly tan and black, are either on the boat or in the sea beside the boat and are, with no hurry, doing something or not doing something, perhaps mooring the boat so that they can come to the restaurant to eat oysters, or not mooring the boat but doing something else altogether.

Читать дальше
Тёмная тема

Шрифт:

Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «Vertigo»

Представляем Вашему вниманию похожие книги на «Vertigo» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё не прочитанные произведения.


Отзывы о книге «Vertigo»

Обсуждение, отзывы о книге «Vertigo» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.