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Book Title: Interior Darkness: Selected Stories|
The author of the book: Peter Straub
ISBN 13: 9780385541053
Format files: PDF
The size of the: 465 KB
Date of issue: February 16th 2016
Read full description of the books:A MONUMENTAL COLLECTION OF SHORT FICTION FROM ACCLAIMED MASTER OF HORROR AND NEW YORK TIMES BESTSELLING AUTHOR PETER STRAUB
“Peter Straub brilliantly defies and blurs literary genres.” —LORRIE MOORE
An American icon renowned for his bestselling novels, Peter Straub displays his full and stunning range in this crowning collection. He has consistently subverted the boundaries of genre for years, transcending horror and suspense to unlock the dark, unsettling, and troubling dissonances that exist on the edges of our perception. Straub’s fiction cracks the foundation of reality and opens our eyes to an unblinking experience of true horror, told in his inimitable and lush style with skill, wit, and impeccable craft.
With uncanny precision, Straub writes of the city and of the Midwest, of the depraved and of the righteous, of the working class and of the wealthy—nothing and no one is safe from the ever-present darkness that he understands so well. “Blue Rose” follows the cycles of violence and power through the most innocent among us, leading to a conclusion that is audacious and devastating. In the darkly satirical masterpiece “Mr. Clubb and Mr. Cuff,” a stern estate lawyer known as the Deacon hires a pair of “Private Detectives Extraordinaire” to investigate and seek revenge on his unfaithful wife. “The Ballad of Ballard and Sandrine” follows a man and his much younger lover as they explore their decadent and increasingly sinister fantasies aboard a luxurious yacht on the remotest stretch of the Amazon River.
Interior Darkness brings together sixteen stories from twenty-five years of dazzling excellence. It is a thrilling, highly entertaining, and terrifying testament to the prodigious talent of Peter Straub.
Read information about the authorPeter Straub was born in Milwaukee, Wisconsin on 2 March, 1943, the first of three sons of a salesman and a nurse. The salesman wanted him to become an athlete, the nurse thought he would do well as either a doctor or a Lutheran minister, but all he wanted to do was to learn to read.
When kindergarten turned out to be a stupefyingly banal disappointment devoted to cutting animal shapes out of heavy colored paper, he took matters into his own hands and taught himself to read by memorizing his comic books and reciting them over and over to other neighborhood children on the front steps until he could recognize the words. Therefore, when he finally got to first grade to find everyone else laboring over the imbecile adventures of Dick, Jane and Spot (“See Spot run. See, see, see,”), he ransacked the library in search of pirates, soldiers, detectives, spies, criminals, and other colorful souls, Soon he had earned a reputation as an ace storyteller, in demand around campfires and in back yards on summer evenings.
This career as the John Buchan to the first grade was interrupted by a collision between himself and an automobile which resulted in a classic near-death experience, many broken bones, surgical operations, a year out of school, a lengthy tenure in a wheelchair, and certain emotional quirks. Once back on his feet, he quickly acquired a severe stutter which plagued him into his twenties and now and then still puts in a nostalgic appearance, usually to the amusement of telephone operators and shop clerks. Because he had learned prematurely that the world was dangerous, he was jumpy, restless, hugely garrulous in spite of his stutter, physically uncomfortable and, at least until he began writing horror three decades later, prone to nightmares. Books took him out of himself, so he read even more than earlier, a youthful habit immeasurably valuable to any writer. And his storytelling, for in spite of everything he was still a sociable child with a lot of friends, took a turn toward the dark and the garish, toward the ghoulish and the violent. He found his first “effect” when he discovered that he could make this kind of thing funny.
As if scripted, the rest of life followed. He went on scholarship to Milwaukee Country Day School and was the darling of his English teachers. He discovered Thomas Wolfe and Jack Kerouac, patron saints of wounded and self-conscious adolescence, and also, blessedly, jazz music, which spoke of utterance beyond any constraint: passion and liberation in the form of speech on the far side of the verbal border. The alto saxophone player Paul Desmond, speaking in the voice of a witty and inspired angel, epitomized ideal expressiveness, Our boy still had no idea why inspired speech spoke best when it spoke in code, the simultaneous terror and ecstasy of his ancient trauma, as well as its lifelong (so far, anyhow) legacy of anger, being so deeply embedded in the self as to be imperceptible, Did he behave badly, now and then? Did he wish to shock, annoy, disturb, and provoke? Are you kidding? Did he also wish to excel, to keep panic and uncertainty at arm's length by good old main force effort? Make a guess. So here we have a pure but unsteady case of denial happily able to maintain itself through merciless effort. Booted along by invisible fears and horrors, this fellow was rewarded by wonderful grades and a vague sense of a mysterious but transcendent wholeness available through expression. He went to the University of Wisconsin and, after opening his eyes to the various joys of Henry James, William Carlos Williams, and the Texas blues-rocker Steve Miller, a great & joyous character who lived across the street, passed through essentially unchanged to emerge in 1965 with an honors degree in English, then an MA at Columbia a year later. He thought actual writing was probably beyond him even though actual writing was probably what he was best at - down crammed he many and many a book, stirred by
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