Tales of the Night
aug 2013 · Müüja: Farrar, Straus and Giroux
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These eight stories are linked by a date and a motif. All of them have to do with love. Love and its conditions on the night of March 19, 1929.
In his second book and his only collection of stories, Peter Høeg proves himself to be a true storyteller in the tradition of Karen Blixen and Joseph Conrad. These beautifully constructed tales deal with love, the classic arts and sciences, and the confrontation of Western and non-Western cultures. Moving from a railroad car in the Congo to a sailboat in Lisbon's harbor to an upper-class apartment in Copenhagen, they include the tales of a young, disillusioned mathematician who comes face-to-face with his culture's distorition of Africa; an esteemed judge who runs off with the young man he has just sentenced to prison for his homosexual tendencies; and a town--sealed off from the plague--that is infiltrated by a troupe of traveling actors.
In his second book and his only collection of stories, Peter Høeg proves himself to be a true storyteller in the tradition of Karen Blixen and Joseph Conrad. These beautifully constructed tales deal with love, the classic arts and sciences, and the confrontation of Western and non-Western cultures. Moving from a railroad car in the Congo to a sailboat in Lisbon's harbor to an upper-class apartment in Copenhagen, they include the tales of a young, disillusioned mathematician who comes face-to-face with his culture's distorition of Africa; an esteemed judge who runs off with the young man he has just sentenced to prison for his homosexual tendencies; and a town--sealed off from the plague--that is infiltrated by a troupe of traveling actors.
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Peter Høeg, born in 1957 in Denmark, pursued various interests—dancer, actor, sailor, fencer, and mountaineer—before turning seriously to writing. His work has been published in 33 countries. His novels include the bestselling The Quiet Girl and Borderliners, and the award-winning Smilla’s Sense of Snow. “Høeg writes prose that is both changeable and as deep-fathomed as poetry...[It] demands to be read aloud and savored.”—The New Yorker on Smilla’s Sense of Snow
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