Over the past several decades, Edith Pearlman has staked her claim as one of the all-time great practitioners of the short story. Her incomparable vision, consummate skill, and bighearted spirit have earned her consistent comparisons to Anton Chekhov, John Updike, Alice Munro, Grace Paley, and Frank O'Connor. Her latest work, gathered in this stunning collection of twenty new stories, is an occasion for celebration. Pearlman writes with warmth about the predicaments of being human. The title story involves an affair, an illegitimate pregnancy, anorexia, and adolescent drug use, but the true excitement comes from the evocation of the interior lives of young Emily Knapp, who wishes she were a bug, and her inner circle. "The Golden Swan" transports the reader to a cruise ship with lavish buffets-and a surprise stowaway-while the lead story, "Tenderfoot," follows a widowed pedicurist searching for love with a new customer anguishing over his own buried trauma. Whether the characters we encounter are a special child with pentachromatic vision, a group of displaced Somali women adjusting to life in suburban Boston, or a staid professor of Latin unsettled by a random invitation to lecture on the mystery of life and death, Pearlman knows each of them intimately and reveals them to us with unsurpassed generosity. In prose as knowing as it is poetic, Pearlman shines a light on small, devastatingly precise moments to reflect the beauty and grace found in everyday life. Both for its artistry and for the recognizable lives of the characters it renders so exquisitely and compassionately, Honeydew is a collection that will pull readers back time and again. These stories are a crowning achievement for a brilliant career and demonstrate once more that Pearlman is a master of the form whose vision is unfailingly wise and forgiving.

Honeydew: Stories

Literature & Fiction

Pearlman, Edith

United States

Little. Brown and Company

Honeydew

Reference

Back Bay Books

When asked to describe her short stories, Edith Pearlman replied that they are stories about people in peculiar circumstances aching to Do The Right Thing. She elaborated with the same wit and intimacy that make her stories a delight to read: “Before I was a writer I was a reader; and reading remains a necessary activity, occupying several joyous hours of every day. I like novels, essays, and biographies; but most of all I like the short story: narrative at its most confiding. “My own work, and particularly the stories in Vaquita, aims at a similar intimacy between writer and reader. My imagined reader wants to know who loves whom, who drinks what, and, mostly, who answers to what summons. Thank Heavens for Spike Lee! Before his movies writers and critics had to natter about moral stances; now I can say with a more tripping tongue that my characters are people in peculiar circumstances, aching to Do The Right Thing if only they can figure out what The Right Thing is. If not, they’ll at least Do Their Own Right Thing Right. “And I’m drawn to heat: sweltering Central American cities; a steamy soup kitchen; Jerusalem in midsummer; the rekindled passion of an old historian; the steady fire of terminal pain. I like solitaires, oddities, charlatans, and children. My characters are secretive; in almost every story somebody harbors a hidden love, dread, regret, or the memory of an insult awaiting revenge. “When I stop writing stories I plan to write letters, short and then shorter. My mother could put three sentences onto a postcard and make the recipient think he’d read a novel. I’m working towards a similar compression.”

Vaquita and Other Stories (Drue Heinz Literature Prize 1996)

University of Pittsburgh Press

When asked to describe her short stories, Edith Pearlman replied that they are stories about people in peculiar circumstances aching to Do The Right Thing. She elaborated with the same wit and intimacy that make her stories a delight to read: “Before I was a writer I was a reader; and reading remains a necessary activity, occupying several joyous hours of every day. I like novels, essays, and biographies; but most of all I like the short story: narrative at its most confiding. “My own work, and particularly the stories in Vaquita, aims at a similar intimacy between writer and reader. My imagined reader wants to know who loves whom, who drinks what, and, mostly, who answers to what summons. Thank Heavens for Spike Lee! Before his movies writers and critics had to natter about moral stances; now I can say with a more tripping tongue that my characters are people in peculiar circumstances, aching to Do The Right Thing if only they can figure out what The Right Thing is. If not, they’ll at least Do Their Own Right Thing Right. “And I’m drawn to heat: sweltering Central American cities; a steamy soup kitchen; Jerusalem in midsummer; the rekindled passion of an old historian; the steady fire of terminal pain. I like solitaires, oddities, charlatans, and children. My characters are secretive; in almost every story somebody harbors a hidden love, dread, regret, or the memory of an insult awaiting revenge. “When I stop writing stories I plan to write letters, short and then shorter. My mother could put three sentences onto a postcard and make the recipient think he’d read a novel. I’m working towards a similar compression.”

Vaquita and Other Stories (Drue Heinz Literature Prize, 67)

Short Stories & Anthologies

Edith Pearlman's characters in this collection of stories are children, old women, young men, rabbis, toy makers, lovers, invalids, immigrants, schmoozers, angels, and fools; all perfectly real and accessible, all drawn with a kind of comic quietude. 
The title story begins: "At the dinner following Michael's wedding to Bellamy they did the chair thing. It was a Jewish wedding, after all--as Jewish as a wedding could be when the bride's mother was not Jewish and therefore the bride, strictly speaking, was not Jewish either; as Jewish as a wedding could be in a prairie college town where the one synagogue, struggling to keep solvent, rented itself out weekdays to Alcoholics Anonymous and a quilting group." 
Winner of the first annual Spokane Prize for Fiction, Love Among the Greats is a magnificent world tour of characters, tones, and fictional structures, all of them brought to life with a stunning restraint.

Love Among the Greats

Poetry

Carnegie-Mellon University Press

The Idaho Review is an annual Literary Journal published by Boise State University.

The Idaho Review, Volume V

HALL, DONALD

Schmidt, Geoff

McNally, John

Bass, Rick

CHERRY, Kelly

Minot, Stephen

Holladay, Cary

Fincke, Gary

Bly, Carol

Mayo, Wendell

Thon, Melanie Rae

Harms, James

Whalen, Tom

BUSCH, Frederick

Idaho Review

1st edition 1st print unread John Murray 2015 fine book in fine dw In stock shipped from our UK warehouse

John Murray

'The best short story writer in the world' Susan Hill, The Times  Honeydew is the first collection from Edith Pearlman since Binocular Vision, winner of the National Book Critics Circle Award and a 'spectacular literary revelation' (Sunday Times).  Over the last few decades, Edith Pearlman has staked her claim as one of the great practitioners of the short story. Her understanding and skill have earned her comparisons to Anton Chekhov, John Updike and Alice Munro. Her latest work, gathered in this stunning collection of twenty new stories, is an occasion for celebration.  The stories in Honeydew are unmistakably by Pearlman; whole lives in ten pages. They are minutely observant of people, of their foibles and failings, but also of their moments of kindness and truth. Whether the characters are Somalian women who've suffered circumcision, a special child with pentachromatic vision or a staid professor of Latin unsettled by a random invitation to lecture on the mystery of life and death, Pearlman knows each of them intimately and reveals them with generosity.

Honeydew Lib/E: Stories

Literary

[Read by Suzanne Toren] A new story collection from the author of Binocular Vision, winner of the National Book Critics Circle Award and finalist for the National Book Award Over the past several decades, Edith Pearlman has staked her claim as one of the great practitioners of the short story. Her incomparable vision, consummate skill, and bighearted spirit have earned her consistent comparisons to Anton Chekhov, John Updike, Alice Munro, Grace Paley, and Frank O'Connor. This latest collection of twenty new stories is an occasion for celebration. Pearlman writes with warmth about the predicaments of being human. The title story involves an affair, an illegitimate pregnancy, anorexia, and adolescent drug use, but the true excitement comes from the evocation of the interior lives of young Emily Knapp, who wishes she were a bug, and her inner circle. ''The Golden Swan'' transports listeners to a cruise ship with lavish buffets - and a surprise stowaway - while the lead story, ''Tenderfoot,'' follows a widowed pedicurist searching for love with a new customer anguishing over his own buried trauma. Whether the characters we encounter are a special child with pentachromatic vision, a group of displaced Somali women adjusting to life in suburban Boston, or a staid professor of Latin unsettled by a random invitation to lecture on the mystery of life and death, Pearlman knows each of them intimately and reveals them with unsurpassed generosity.

A new story collection from Edith Pearlman, winner of the National Book Critics Circle Award and finalist for the National Book Award for her last collection, Binocular Vision. From the National Book Critics Circle Award-winning author of Binocular Vision, Honeydew further solidifies Edith Pearlman's place among the likes of all-time great story writers such as John Updike, Alice Munro, Frank O'Connor, and Anton Chekhov. Pearlman writes about the predicaments of being human. The title story involves an affair, an illegitimate pregnancy, anorexia, and adolescent drug use, but the real excitement comes from the intricate attention Pearlman devotes to the interior life of young Emily, who wishes she were a bug. In “Sonny,” a mother prays for her daughters to be barren so they never have to experience the death of a child. “The Golden Swan” transports the reader to a cruise ship with lavish buffets-and a surprise stowaway. In prose that is as wise as it is poetic, Pearlman shines light on small, devastatingly precise moments to reflect the beauty and grace found in everyday life. She maps the psychological landscapes of her exquisitely rendered characters with unending compassion and seeming effortlessness. Both for its artistry and for the lives of the characters it presents, Honeydew is a collection that will pull readers back time and again. These stories demonstrate once more that Pearlman is a master of the form and that hers is a vision unfailingly wise and forgiving.

Hachette Audio

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