Fiction | Short Stories
B-Format PB | 92 pp
₹ 1399 | £12.99 | $ 19.99
Intense and atmospheric, sometimes funny and always honest, these stories are narratives about women in love, in confusion, in isolation. Nadjarian writes about love and loss, human contact and entanglement with the haunting resonance of dream and fable. Her characters are all searching for something missing from their seemingly ordinary lives and the spare, nuanced prose gives the reader a glimpse into their secrets, fears and, essentially, the human heart.
Nora Nadjarian lives in Nicosia, Cyprus. She has published three collections of poetry: The Voice at the Top of the Stairs (2001), Cleft in Twain (2003) and 25 Ways to Kiss a Man (2004). Her second poetry collection Cleft in Twain was cited by The Guardian in an article on the literature of the new European Union member states in 2004. In addition to a book of short stories, Ledra Street (2006) and a book of fairy-tale inspired microfiction Girl, Wolf, Bones (2011), she has had work published online and in journals in the UK, the United States, Australia and elsewhere. Her stories have won prizes and commendations in the Commonwealth Short Story Competition, the Binnacle International Ultra-Short Competition and the Seán Ó Faoláin Short Story Prize.
‘Nora Nadjarian’s remarkable stories demonstrate the infinite flexibility and potential of the short story form. They are at once poignant, witty, stylish, and beautifully observed miniatures of magic realism. They manage to be both experimental, pushing the boundaries of the form outwards, and instantly engaging. This is a wonderful collection of mingling, overlapping, conflicting and converging voices.’ JONATHAN TAYLOR
‘A compelling and poetic collection of short stories with a dark underbelly, full of raw emotion and human truth. Stories of women making sense, taking action and nursing wounds inflicted by men, by fate and historic events, by dark family secrets and haunting memories.’ EVE MAKIS
‘Nora Nadjarian’s distilled short stories are abrupt and intense, as invigorating and aromatic as a double shot of literary espresso.’ ANJALI JOSEPH