Dalia Rosenfeld is a graduate of the Iowa Writers’ Workshop. Her work has appeared in publications including the Atlantic, AGNI, Michigan Quarterly Review, Mississippi Review, and Colorado Review. She teaches creative writing at Bar Ilan University and lives with her three children in Tel Aviv.
The Worlds We Think We Know: Stories
eBook
-
ISBN-13:
9781571319562
- Publisher: Milkweed Editions
- Publication date: 04/17/2017
- Sold by: Barnes & Noble
- Format: eBook
- Pages: 272
- File size: 2 MB
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Fiercely funny and entirely original, this debut collection of stories takes readers from the United States to Israeland backto examine the mystifying reaches of our own minds and hearts.
The characters of The Worlds We Think We Know are swept up by forces beyond their control: war, adulthood, familyand their own emotions, as powerful as the sandstorm that gusts through these stories. In Ohio, a college student cruelly enlists the help of the boy who loves her to attract the attention of her own crush. In Israel, a young American woman visits an uncommunicative Holocaust survivor and falls in love with a soldier. And from an unnamed Eastern European country, a woman haunts the husband who left her behind for a new life in New York City.
The Worlds We Think We Know is a dazzling debutclear-eyed, hilarious, and heartbreaking.
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In this moving collection of stories, Rosenfeld examines Jewish, Israeli, and American experiences by examining their many intersections and divergences. The stories, centered on such subjects as the dynamics of a kosher co-op at an Iowa college or an American struggling to find comfort in increasingly combustible Tel Aviv, explore competing senses of the self and the struggle to connect with places and cultures that are at once familiar and alien. This is felt most strongly in the titular story, when a young woman falls in love with an Israeli soldier while caring for his father, a Holocaust survivor living in Jerusalem. Even as she opens herself up to the possibility of true love, there is a distance between her perceptions of Israeli life and the cultural worldview of both her romantic interest and his Zionist father. In “Daughters of Respectable Houses,” another standout, love of a book by a Jewish writer is just one of many similarities between two women who at first consider themselves worlds apart. With humor and sadness, Rosenfeld illuminates how the self is at once informed by and wholly separate from culture. (May)
“A profound debut from a writer of great talent.”Adam Johnson, author of The Orphan Master's Son
“I’ve read Rosenfeld’s stories with huge admiration: the tone, the perfectly balanced control of every sentence in the space made for it by the sentence before, the quiet implicitness of every gesture, the scenes so well observed that they seem like indelible steel engravings, and especially, whole lives subliminally yet substantively limned by a phrase or two. Flying beyond what we are used to calling ‘conventionalrealism,’ Rosenfeld points to a shimmering spot just beyond the horizon, and leaves us yearning. Is there a name for what she does? To find out, I think one must consult Borges. Or Italo Calvino. Or little fragments of Sebald.”Cynthia Ozick, author ofForeign Bodies
“A gorgeous and wise collection of stories filled withdeeply human and unforgettable characters.Rosenfeld is a profoundly gifted andcompassionate writer,andthis is an extraordinary debut.”Molly Antopol, author ofThe UnAmericans
“Outstanding . . . Set in locales including present-day Jerusalem, the permafrost region of Russia and the streets of Manhattan, Rosenfeld’s best stories focus not only on loss, but on its aftermath: living in the presence of absence. Reprising this theme underscores a common truth about exits: when one person leaves, another gets left behind. But millennia after the Israelites fled from Egypt, is there anything fresh to say about the subject? Turns out, when it comes to Rosenfeld’s fiction, there is. . . . All the old literary tropes that get bent and burnished by [Rosenfeld] feel at once familiar and strange, fathomable and mysterious.”Haaretz
“A master of her craft . . . [Dalia Rosenfeld] chooses words with the care of a composer choosing notes, yielding magnificent sentences. Some of Rosenfeld’s stories feature what I might call a shining sonata; others a lively allegro.”Jerusalem Post
“Rosenfeld is very funny, Jewish, and wise.”Gary Shteyngart, author of Super Sad True Love Story
“A wondrous collection, rich with melancholy humor and insight. Rosenfeld’s stories will go on glimmering in your mind long after you’ve read them.”Mona Awad, author of 13 Ways of Looking at a Fat Girl
“Funny and poignant . . .The lush melancholy of this collection is bolstered by the characters’ deep intelligence and wit. . . . Jewish history is shredded through with displacement, and many of Rosenfeld’s characters are caught in the position of a having a long cultural history and no sense of home.”Electric Literature
“Rosenfeld's debut book of stories is funny, touching, awkward, and wry. . . . This collection charms with quiet humor.”Kirkus
“In this moving collection of stories, Rosenfeld examines Jewish, Israeli, and American experiences by examining their many intersections and divergences. . . . With humor and sadness, Rosenfeld illuminates how the self is at once informed by and wholly separate from culture.”Publishers Weekly
“A wholly unique voice . . . Equal parts funny and sorrowful, strange and grounded, human and sometimes magical.”Bustle
Stories about Jewish life—in all its painful absurdity—in the United States and in Israel.Rosenfeld's debut book of stories is funny, touching, awkward, and wry. In most of the stories, not all that much happens: instead, Rosenfeld deals with the quotidian and the absurd. In the title story, a young woman volunteers to keep an elderly Holocaust survivor company. Mostly, she watches him eat onions. "Lotzi ate it with bread, one slice for every three bites of onion, and washed it down with a cup of tepid Wissotzky made from old teabags reduced to the size of walnuts." In "A Foggy Day," a girl takes piano lessons. In "The Other Air," a woman can't stop sighing. Almost all the stories are told in the first person, and most of these narrators share a common voice. Then, too, there are certain images, or motifs, that recur throughout many of the stories: lemon trees, migraines, pianos, and books—more than books: some of her characters read compulsively, for hours, for days, almost unceasingly. Rosenfeld writes with a dry, sardonic deadpan. Her characters are lonely, homely, maladroit creatures. In "Vignette of the North," the owner of a vegetable stand finds that an artist across the way has painted her stand. "Simona stared at a crumb that had settled on the painter's beard and wished it away. As the object of artistic inspiration, she felt almost entitled to brush it off herself." She invites him to her home to finish the painting "without all the distractions of the market." She expects him to add her into the painting. He might as well stay for dinner. "I'm a very good cook," she informs him. Inevitably, she's disappointed. Readers won't be. This collection charms with quiet, wry humor.