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Paul Schellenberg citieguy — I read to page 150, and that's all I could take. Too much infidelity, sex, drugs, AIDS, suicides and self-destruction, and I couldn't see that anybody learned anything about their unhappiness and disillusionment. Maybe, however, it I had finished the book, I would have seen some redemption, but it wasn't worth the torture. This is beyond "The Lost Generation" [Gertrude Stein] of World War I; it's "The Goon Generation."

Kate Jones katej55 — I do not think short stories are Tóibín's strongest suit - I think longer forms serve him better (my favorite story was the longest story). A good short story can be (though I don't want to make any really strong normative claims) a bit like a slap out of nowhere, and he doesn't have that talent, which I think I . . . probably should have guessed before reading these. But my evaluation of this book is probably not totally fair, because Brooklyn is still fresh in my mind, and I love Brooklyn with an adolescent passion. (Picture the sobbing girls in A Hard Day's Night. Now go read Brooklyn.) These are all perfectly good stories, and I wouldn't be like "Jesus, the New Yorker has really let itself go, right?" if one of them turned up in an issue (and some of them have). One of the cover blurbs (bastions of reliability, I know!) mentions that this would be a good introduction to his work. That seems to me a fair evaluation of them, but I imagine if you've loved his novels - or, in my case, novel - then you would find these a bit of a disappointment. As I've mentioned, I know this is unfair: a combination of my personal aesthetics re: short stories and the fresh memory of Brooklyn conspired against this collection, so. All the same, he can do better.

Vladislav Troshin troshin — I went through a "Greek Myth Phase" because of this book, something for which "What to expect of a seven year old" probably did not prepare my mother. My old drawing notebooks are full of complicated pantheons and my attachment to Greek mythology has stood me in good stead.