6.8 /10 1 Votes6.8
Originally published 1978 | 3.4/5 Goodreads | |||||||||||||||||||||||||||||||||
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In Between the Sheets (1978) is the second collection of short stories by British writer Ian McEwan.
Contents
Context
The collection is McEwan's second book and second collection of short stories, and was regarded by the author (along with his first collection, First Love, Last Rites) as an opportunity to experiment and find his voice as a writer. In an interview with Christopher Ricks in 1979, McEwan commented, "They were a kind of laboratory for me. They allowed me to try out different things, to discover myself as a writer."
Stories
Reception
The book was enthusiastically received by critics. In The Times, Caroline Moorehead asked in her headline, "Who Else But Ian McEwan Would Put a Lover in Ape's Clothing?" In The New York Review of Books, Robert Towers praised McEwan's "quiet, precise, sensual touch," calling him "a writer in full control of his materials" and describing his England as a "flat, rubble-strewn wasteland, populated by freaks and monsters, most of them articulate enough to tell their own stories with mesmerizing narrative power and an unfaltering instinct for the perfect, sickening detail." In the Washington Post, Terence March described McEwan's prose as "clear as a windowpane," and ranked the author as "a gifted storyteller and possibly the best British writer to appear in a decade or more."
A year later, again in The New York Review of Books, writer and critic V.S. Pritchett gave a good sense of the stories' impact: "Ian McEwan has been recognized as an arresting new talent in the youngest generation of English short story writers. His subject matter is often squalid and sickening; his imagination has a painful preoccupation with the adolescent secrets of sexual aberration and fantasy. But in his accomplishment as a story writer he is an immediate master of styles and structures, his writing transfigures, and he can command variety in subject and feeling. His intellectual resources enable him—and the reader—to open windows in a claustrophobia which otherwise would have left us flinching and no more. Invention, irony, humor, a gift for satirical parody and curiosity give him the artist’s initiative. We do recognize an underworld—for that is what it is—and it is natural that he has evoked an, albeit distant, connection with Beckett and Kafka. His limitation is that his range of felt experience is confined to his love of his disgusts."