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Peter Taylor (1) (1917–1994)

Forfatter af A Summons to Memphis

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Peter Taylor (1) has been aliased into Peter Hillsman Taylor.

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Associated Works

Works have been aliased into Peter Hillsman Taylor.

The Oxford Book of American Short Stories (1992) — Bidragyder — 742 eksemplarer
Short Story Masterpieces (1954) — Bidragyder — 674 eksemplarer
The World of the Short Story: A 20th Century Collection (1986) — Bidragyder — 460 eksemplarer
The Granta Book of the American Short Story (1992) — Bidragyder — 368 eksemplarer
Sudden Fiction: American Short-Short Stories (1984) — Bidragyder — 362 eksemplarer
Wonderful Town: New York Stories from The New Yorker (2000) — Bidragyder — 354 eksemplarer
The Treasury of American Short Stories (1981) — Bidragyder — 267 eksemplarer
The Best American Short Stories of the 80s (1990) — Bidragyder — 158 eksemplarer
The Signet Classic Book of Southern Short Stories (1991) — Bidragyder — 121 eksemplarer
The Granta Book of the American Long Story (1822) — Bidragyder — 98 eksemplarer
The Literature of the American South: A Norton Anthology (1997) — Bidragyder — 98 eksemplarer
American Short Stories (1976) — Bidragyder, nogle udgaver95 eksemplarer
Stories from The New Yorker, 1950 to 1960 (1958) — Bidragyder — 80 eksemplarer
200 Years of Great American Short Stories (1975) — Bidragyder — 68 eksemplarer
55 Short Stories from The New Yorker, 1940 to 1950 (1949) — Bidragyder — 61 eksemplarer
An Omnibus of 20th Century Ghost Stories (1989) — Bidragyder — 45 eksemplarer
Southern Dogs and Their People (2000) — Bidragyder — 39 eksemplarer
The Best American Short Stories 1980 (1980) — Bidragyder — 34 eksemplarer
New Stories from the South: The Year's Best, 1991 (1991) — Bidragyder — 32 eksemplarer
New Stories from the South: The Year's Best, 1993 (1993) — Bidragyder — 26 eksemplarer
The Best American Short Stories 1978 (1978) — Bidragyder — 25 eksemplarer
The Best American Short Stories 1970 (1970) — Bidragyder — 23 eksemplarer
New Stories from the South: The Year's Best, 1992 (1992) — Bidragyder — 22 eksemplarer
The Best American Short Stories 1963 (1963) — Bidragyder — 19 eksemplarer
The Best American Short Stories 1965 (1965) — Bidragyder — 17 eksemplarer
The Best American Short Stories 1976 (1976) — Bidragyder — 15 eksemplarer
The Best American Short Stories 1959 (1959) — Bidragyder — 13 eksemplarer
The Best American Short Stories 1960 (1960) — Bidragyder — 11 eksemplarer
The Best American Short Stories 1961 (1961) — Bidragyder — 10 eksemplarer
The best of the Best American short stories, 1915-1950 (1975) — Bidragyder — 10 eksemplarer
The Best American Short Stories 1946 (1946) — Bidragyder — 8 eksemplarer
The Best American Short Stories 1942 (1942) — Bidragyder — 4 eksemplarer
The Best American Short Stories 1950 (1950) — Bidragyder — 3 eksemplarer

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This book has been on my reading list for so long (at least a decade, pre-goodreads) that I have no recollection of why I added it. I'm sure it's very good. The writing flows, the characterization is subtle, we learn the most about the narrator through how he tries to examine his own story. I just didn't connect to it in any way.
Kiramke | 27 andre anmeldelser | Jun 27, 2023 |
This was a recommendation from a book seller who knew of my love for [[William Gay]]. The stories, indeed set in the South and somewhat Gothic in nature, are well-written and expansive; Taylor knows how to take his time and let a story breath. But, if I had to pick a word to describe all of the work, it would be claustrophobic. Every story is told from one of the character's perspectives, most in first-person, and they establish a particular confining feeling from the telling. The stories are good, just not my taste.

3 bones!!!
… (mere)
blackdogbooks | 3 andre anmeldelser | May 7, 2023 |
Ostensibly, A Summons to Memphis is about an adult son being called home by his older sisters to prevent the marriage of his eighty-one year old widower father. The pace for the book, particularly the beginning, is a slow one, reminding one of a soft Southern drawl, and it is essential that the reader is paying attention to all the subtle nuances of meaning laid between what the narrator says and where the truth actually lies.

The circumstances of his father’s old-age rebellion against the control of the sisters, causes Phillip, our narrator, to re-examine his life, the character of his father, and the impact of his fathers decisions upon the family at large. As he begins to see the prevention of the marriage as an act of revenge by the sisters, he begins to reconstruct the origin of the complicated relationship all these children share with their sometimes overbearing and always self-consumed father.
Initially, it is hard to muster much sympathy for Phillip, this fully grown man who seems to operate from such a cold center, but as the book progresses, we begin to see him more clearly and how he has been shaped by the events of his life: the original abrupt move to Memphis from Nashville, the separation from his first and perhaps only love, the usurping of his place in his father’s life by his own best friend, Alex Mercer. Along with his own revelations, we begin to see the sisters more clearly as well, the sacrifices they have made for a father, who possessed more than loved them, and their need to prevent the disruption of this relationship by the admission of any new dynamic, let along a new wife.

I seems to me that Taylor’s interest here is family connections and how individuals inside the circle are affected by one another. In bending to their father’s will, the mother and the children are shaped and reshaped into some lesser version of who they were or who they could have been. The older brother, Georgie, is so anxious to escape that he joins the armed forces and puts himself in the midst of a conflict from which he never returns. Phillip’s relationship with his father, with Alex, and with his live-in girlfriend, Holly, are all affected by Phillip’s early experiences and his changing perceptions of who his father is.

The saddest part of this, for me, was the fact that Phillip never shares any of his feelings with anyone in his life. He pretends to feel as Holly does about the father situation, he never discusses anything of import with the sisters, he holds Alex at an arm’s length and drops him completely after the death of his father, and he never sits down and tells his father how he feels. He buries all his feelings as deeply as he can, even giving up his claim to have once loved someone, in the end.

When I initially finished the book, I was wondering whether I believed it merited a Pulitzer. After a little reflection, I decided it was one of those books that seems to have a simple story, that could never be said to be plot driven, and that appears to only scratch the surface of its characters, but when you keep thinking about it, you realize you are peeling the layers away, like the skin of an onion, and there is a great deal of substance underneath.

… (mere)
mattorsara | 27 andre anmeldelser | Aug 11, 2022 |
The premise of the book — "It's about men who disappear" — is intriguing, if somewhat elusive. Overnight, and as I write this, it seems to me that it's about those who disappear from family, friends and their worlds, but, rather, those who never appear to themselves. Nathan Longfort gives us the narrative of his life, beginning with the funeral procession by slow train of his grandfather from DC to TN, introducing us to all of his family tree ... including Aubrey. It's Aubrey's death at the end — clearly the end of something — along with Nathan's son Brax's coming of age as an artist that ultimately defines Nathan as someone he didn't quite become. But perhaps we don't define ourselves individually; perhaps we are defined by all of those around us ...… (mere)
markburris | 4 andre anmeldelser | Jul 11, 2021 |



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