Product Description

Colm Toibin's new and challenging collection of stories paint rich and textured portraits of individuals at different pivotal moments in their lives. In each case, Toibin shows how their relationship with either a mother or a son, or their relationship to their own role as mother or son, reveals something unique and important about them. The stories feature Ireland or Irish narrators, but they are also truly universal. In "Famous Blue Raincoat", unwelcome memories are stirred when a mother, once a singer in an Irish folk-rock band of some popular renown in the 60s, finds that her son has been listening to their old records - songs she hoped never to hear again. In "Water", a son buries his mother and goes out to a drug-fuelled rave on a remote beach outside Dublin. In the course of this one night, his grief and desire for raw feeling combine with exquisite and devastating intensity. At once beautifully playful, psychologically intricate, emotionally incisive, finely-wrought and fearless these stories tease out the delicate and difficult strands which are woven between mothers and sons. Sometimes shocking and always powerful, this masterful new collection confirms Toibin as great prose stylist of our time. Praise for "The Master" includes: 'An audacious, profound, and wonderfully intelligent book' - Hermione Lee, "Guardian". 'The Master is not short of a masterpiece.' - "Independent on Sunday".

Product Details

• Amazon Sales Rank: #292277 in Books
• Published on: 2007-01-02
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 288 pages

Amazon.com Review
The nine stories in Mothers and Sons examine in depth some of the ways that the bond that is forged--or not--between mothers and their sons is altered, re-formed, or broken forever. In The Master, his fictionalized life of Henry James, Toíbín made the reader see and understand the writer more fully than ever before. Similarly, these new stories look at relationships between fully formed adults and, with a few deft strokes, make clear what their mutual history has brought them to. In most cases, they must deal with loss, while trying to grasp the complexities of that sometimes precarious balance between a mother and her son.

In the first story, "The Use of Reason," a lifelong burglar is nearly brought down by his mother, who talks too much when she drinks in her local pub. In "A Song," Noel, on the town with a group of his musician friends, ends up in the same bar as his estranged mother, who is asked to sing. She sings an Irish ballad about love and treachery and he is convinced that she is singing directly to him. In "A Priest in the Family," Molly's son Frank is accused of abuse, but no one has the courage to tell her until it is almost time for the trial. Her reaction is not entirely predictable. "Three Friends" takes place after a young man attends his mother's funeral. He joins his friends for a night of carousing and drugs ending with a late-night swim, where he is emboldened to make an overt sexual pass at one of his buddies, with interesting results. The final story, "A Long Winter," is set in Spain in a remote village. Miquel's mother drinks. Everyone knows it but Miquel. His father pours out her supply of booze and she leaves the house. So far it's a simple story. It doesn't stay that way. Each of these stories has its own gravitas, its own sadness, and that laser-beam of insight that is Toíbín's trademark. --Valerie Ryan

From Publishers Weekly
Nine stories from the author of The Master, The Blackwater Lightship and three other novels explore what happens when mothers and sons confront one another as adults. The sons include a middle-aged petty criminal, a young alienated pub musician and a regular guy whose drug-fueled mourning takes him into new sexual territory. The mothers include a widow who married above her class, a woman whose son's depression hangs over her and her husband's lives and a woman whose son is a priest being charged with abuse. In "The Name of the Game," the widowed Nancy Sheridan finds herself saddled with three children and a debt-ridden supermarket. In "Famous Blue Raincoat," former–folk-rock sensation-turned-smalltime-photographer Lisa is distressed by her son Luke's interest in her band, but refuses to tread on his curiousity, which forces her to reconfront the band's painful end. Longing, frustrated expectations and an offhandedly gorgeous Ireland run steadily throughout—except in the concluding, near-novella-length "A Long Winter," set in a Spanish village, and featuring Miguel, his younger brother, Jordi, and their mother, whose drinking may not be the only secret Miguel discovers during preparations for Jordi's departure for his military service. Wistful, touching and complex, these stories form a panoramic portrait of loss. (Jan.)
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From The Washington Post
Being Irish, the writer Colm Tóibín must forever defend himself against accusations of an inborn, uncontrollable sentimentalism. He certainly hasn't made his struggle any easier by writing a collection of short stories all about the relationship between mothers and their sons -- in the wrong hands, a recipe for mawkishness that can end only with the pipes calling Danny boy from glen to glen while his beloved Ma waits patiently for him in sunshine or in shadow.

But Tóibín -- whose previous novel The Master won acclaim for its nuanced depiction of Henry James -- isn't that kind of writer. Though he's not above gently tugging at heartstrings, he seems more interested in mapping the silent, awkward distance between his characters than in celebrating any sort of mystical connection. Like moons, the sons in this collection are caught in the powerful orbits of the women who birthed them; they spin and shine with what looks like self-determination, but they know they can never travel too far without being pulled back in.

The desperate mother in "The Name of the Game," one of the strongest stories here, puts everything she has into rebuilding her life after the sudden death of her husband, who has left her with three children and a failing business. Using her last pennies, she converts her moribund grocery store into a fish-and-chips shop and dreams of making enough money to escape her tiny village and start again in the anonymous suburbs of Dublin. Gerard, her adolescent son, doesn't want to leave -- he's at the age when his obligation to obey his mother's directives is just about to be replaced by his right to do as he pleases. The tantalizing nearness of adult autonomy brings tears to his eyes; he can see the life he has imagined for himself right there in front of him, but his mother stands in the way.

In "The Use of Reason," a hardened Dublin gangster must work his way around a different kind of obstacle: his alcoholic mother's penchant for bragging to anyone who'll listen about her boy's toughness and loyalty, not to mention his cleverness at evading the authorities. But that same fiercely prideful love comes as a comfort to the disgraced son in "A Priest in the Family." Facing charges of clerical sexual abuse, he encourages his elderly mother to take a long vacation, away from the sordid headlines and scandalous details. Her simple, reflexive refusal to leave her son in his moment of despair and ignominy is the most poignant moment in a book filled with many.

Ending Mothers and Sons is "A Long Winter," which, uniquely among these stories, takes place in Catalonia rather than in Ireland. As a young man searches for his missing mother -- she has walked into the snowy mountains after an argument with his father -- he slowly girds himself for the near certainty of her death. In his sadness and confusion, he takes comfort in the arms of the houseboy his father has hired to perform those chores the mother once handled. Freudian critics will be parsing this one for years to come, but Tóibín isn't trying to be perverse. Strange fires burn where love and grief collide. Here, as in all the wise, tender and illuminating stories to be found in this collection, he aims simply to show how, for better or for worse, the bond between mother and son is as inexplicable as it is unbreakable.

-- Jeff Turrentine, a critic whose work has appeared in Book World, the New York Times and Slate.

Copyright 2007, The Washington Post. All Rights Reserved.

Customer Reviews

Colm Tóibín: Master Storyteller
One of our most intensely refined and challenging writers of the day, Colm Tóibín presents a new set of nine short stories correlated by the theme and title of mothers and sons, stories that mine the always fascinating relationship between mothers and sons, both positive and negative sides. This is writing of such apparent simplicity that the craftsmanship of his work is taken for granted - the mark of a truly fine writer. Here is a collection of stories to be read slowly, allowing time to digest each experience fully before moving on to the next.

'The Use of Reason' explores a son's theft of valuable art and the consequences of his actions result in a confrontation with his alcoholic mother that supercedes the criminal act. In the brief 'The Song' a young musician almost mistakenly hears his miscreant mother singing a ballad that should erase years of desertion just as in 'Famous Blue Raincoat' the son discovers songs his mother recorded with her hippie sister before disaster struck the drug-impacted band. In 'The Name of the Game' a mother attempts to recover the errors of her deceased husband in making a life for her son, unknowingly at odds with her son's true needs and goals. A mother faces the infamy of her priest son when his history of sexual abuse surfaces in 'A Priest in the Family', and in 'A Summer Job' the devotion of a son to his grandmother overshadows his relationship to his mother. In 'Three Friends' and 'A Long Winter' Tóibín delicately and with subtle sensitivity introduces same sex themes to embroider stories of strong and powerful tales. For this reader 'A Long Winter' (the longest of the stories) is so excellent it could be stretched into an entire novel!

Tóibín finds unique lines of communication among his characters, some with words, others with quiescent descriptors, and the flow of his use of the English language peppered with bits and pieces of both Irish culture and Spanish concepts (in 'The Long Winter') is lyrical, pungent and abundantly enriching to read. His mind is fertile and his style of writing is full of grace and feeling. Highly Recommended. Grady Harp, January 07

Haunting
I realise that I'll undoubtedly be shot down in flames for daring to criticize this book but I must be true to my own feelings on it, as must any honest reviewer. This is a collection of short stories, set mainly in Ireland and with that overlying sadness that seems inevitable in Irish tales. The relationships between the mothers and sons are all different but all have an unbreakable link between them that survives, even when things are at their worst. Other reviewers have listed the stories in detail...the drug fueled rave, following the mother's funeral, the blind love which excuses the paedophilic priest etc. so I won't rehash them. Admittedly the writing is that of a master craftsman, polished to perfection and as precise as the work of a great artist, but I simply didn't enjoy the book, feeling a great cloud of depression fall over me..perhaps it's just that the Irish melancholy got too much for me!

A poignant collection of short stories from an accomplished author
There's little doubt that Irish culture holds in considerable regard the ability to tell an absorbing tale. The country's literature boasts a rich tradition of compelling short story writers --- among them James Joyce, Frank O'Connor and the modern master, William Trevor. Fresh from his acclaimed novel of the life of Henry James, THE MASTER, Colm Tóibín, in his first collection of short fiction, shows that he has the talent to someday join their august company.

MOTHERS AND SONS recognizes that perhaps no other family relationship is more fraught with the tension between intimacy and distance than this one. In the thematically linked stories of this collection, all but one of which are set in modern-day Ireland, Tóibín chooses to emphasize the circumstances that isolate mothers and sons and the failures of communication that often make it impossible to bridge that gap.

The stories in MOTHERS AND SONS don't feature much in the way of dramatic action and tend to be somewhat monochromatic in their tone and pacing. What Tóibín offers that more than compensates for these shortcomings is his gift for sharp and often painful glimpses into the lives of characters struggling to deal with the harsh reality life has handed them. Typical of these insights is the one that appears at the conclusion of "A Journey," the shortest story in the collection. There, Sally contemplates the grim scene that confronts her when she returns home with her 20-year-old son who's been hospitalized for depression, and enters the bedroom where her husband lies crippled from a stroke. Examining herself in the mirror and deciding from that glance to let her hair go gray, Sally is "struck for a moment by a glimpse of a future in which she would need to muster every ounce of selfishness she had."

Among the most poignant stories in the book is "Famous Blue Raincoat." In it, a teenage boy discovers some albums recorded by a Dublin folk-rock band in which his mother and late aunt sang in the early '70s. Hoping to please his mother, he transfers the albums to CDs, but instead evokes for her only the memories of her sister's mysterious death. "Now, as the CD came to an end," Tóibín writes, "she hoped she would never have to listen to it again."

In "A Priest in the Family," Tóibín skillfully undermines the clichéd portrayal of an aging Irish mother doting on her son who has decided to join the priesthood. In its place, he offers the story of Molly, still vigorous in her late 70s, as she drives a car and works to master the Internet, but who's "not sure" she believes in the power of prayer. When Molly learns that her son Frank, a local parish priest, is about to go on trial for sexual abuse of some former students, the tragic circumstances provide them with an opportunity for a kind of reconciliation.

The collection's final story, the novella-length "A Long Winter," is the only one that doesn't take place in Ireland. Set in a village in Spain's Pyrenees Mountains, it chronicles the disappearance of a woman who abandons her unnamed husband and son Miquel, when the husband resorts to harsh measures to halt her problem drinking. She is caught in a blizzard that blows into the region a few hours after she leaves home on foot, and most of the story recounts Miquel's search for her, alternating between the fading hope that she will be found alive and his fear that her body finally will be discovered, devoured by vultures, when the snow melts.

In each of these stories, Tóibín's prose is controlled and burnished. Only a mature, self-assured writer would launch the first story in the collection, "The Use of Reason," with sentences like these --- repetitive, and yet brilliant in their repetition: "The city was a great emptiness. He looked out from the balcony of one of the top flats on Charlemont Street. The wide waste ground below him was empty. He closed his eyes and thought about the other flats on this floor, most of them empty now in the afternoon, just as the little bare bathrooms were empty and the open stairwells were empty."

At the midpoint of his career, Colm Tóibín has demonstrated his ability to master a variety of literary forms. With MOTHERS AND SONS, readers can add the short story to that list and can only look forward to the next offering of this accomplished author.

--- Reviewed by Harvey Freedenberg (mwn52@aol.com)