By Amos Oz
Winner, nationwide Jewish ebook Award
"[A] attractive, rueful assortment . . . that lays naked the private human longings." — Chicago Tribune
In among associates, Amos ounces returns to the kibbutz of the overdue Fifties, the time and position the place his writing started. those 8 interconnected tales, set within the fictitious Kibbutz Yekhat, draw masterly profiles of idealistic women and men enduring own hardships within the shadow of 1 of the best collective goals of the 20th century. a faithful father who fails to problem his daughter's lover, an outdated buddy, a guy his personal age; an aged gardener who incorporates on his shoulders the sorrows of the area; a lady writing perversely poignant letters to her husband's mistress. every one of those tales is a luminous human and literary research; jointly they provide an eloquent portrait of an idea, and of a charged and engaging epoch. Amos oz. at domestic. And at his best.
"Lucid and heartbreaking." — mother or father (UK)
"All Israeli existence is the following, rendered in loving detail." — Mail on Sunday (UK)
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Additional info for Between Friends
It is often claimed, for example, that postmodernism in literature begins with a reaction against the canonization of the great modernist writings of the earlier twentieth century— Joyce, Eliot, Pound—during the 1950s. But the epitome of this move is the impudent precision with which Charles Jencks dates the end of the International Style in architecture: “Modern Architecture died in St. m. ”8 Jencks emphasizes the stylistic innovations that set the new architecture apart from the austerity and seriousness of the Modern, the playful historicism and depthless citation of earlier architectural styles by which postmodernism differentiates itself.
It also overlooks the rhetorical framing of realism, a point post-structuralists and postmodernists have been at pains to emphasize. Steiner’s conception of the literary field reduces the complexity of cultural exchanges by reifying identity categories and making them the primary determinant of literary practice. Steiner employs postmodernism as a periodizing term: postmodernism is that era when fiction, and critical taste, leave behind the elitism of modernism to speak directly to and from the concerns of ordinary and overlooked individuals.
The landscape of canonical Anglophone modernism, over which the impregnable fortresses of Eliot, Pound, and Joyce once brooded, now looks a good deal more variegated and complex; an awareness of modernism’s internationalism has begun to offer a more nuanced understanding of the dynamics of the literary period. Genealogists of postmodernism have taken advantage of an expanded field of modernism, to find precursors in such previously marginal and idiosyncratic figures as Gertrude Stein, Raymond Roussel, and Alfred Jarry, and the recovery of neglected figures has been useful in interrogating and displacing the legacy of inherited accounts of modernism.
Between Friends by Amos Oz