“Country Girl is Edna O’Brien’s exquisite account of her dashing, barrier-busting, up-and-down life.”-National Public Radio

When Edna O’Brien’s first novel, The Country Girls, was published in 1960, it so scandalized the O’Briens’ local parish that the book was burned by its priest. O’Brien was undeterred and has since created a body of work that bears comparison with the best writing of the twentieth century. Country Girl brings us face-to-face with a life of high drama and contemplation.

Starting with O’Brien’s birth in a grand but deteriorating house in Ireland, her story moves through convent school to elopement, divorce, single-motherhood, the wild parties of the ’60s in London, and encounters with Hollywood giants, pop stars, and literary titans. There is love and unrequited love, and the glamour of trips to America as a celebrated writer and the guest of Jackie Onassis and Hillary Clinton.

Country Girl is a rich and heady accounting of the events, people, emotions, and landscape that have imprinted upon and enhanced one lifetime.

A fiercely beautiful novel about one woman’s struggle to reclaim a life shattered by betrayal from the 2018 winner of the PEN/Nabokov Award for Achievement in International Literature.

One night, in the dead of winter, a mysterious stranger arrives in the small Irish town of Cloonoila. Broodingly handsome, worldly, and charismatic, Dr. Vladimir Dragan is a poet, a self-proclaimed holistic healer, and a welcome disruption to the monotony of village life. Before long, the beautiful black-haired Fidelma McBride falls under his spell and, defying the shackles of wedlock and convention, turns to him to cure her of her deepest pains.

Then, one morning, the illusion is abruptly shattered. While en route to pay tribute at Yeats’s grave, Dr. Vlad is arrested and revealed to be a notorious war criminal and mass murderer. The Cloonoila community is devastated by this revelation, and no one more than Fidelma, who is made to pay for her deviance and desire. In disgrace and utterly alone, she embarks on a journey that will bring both profound hardship and, ultimately, the prospect of redemption.

Moving from Ireland to London and then to The Hague, The Little Red Chairs is Edna O’Brien’s first novel in ten years — a vivid and unflinching exploration of humanity’s capacity for evil and artifice as well as the bravest kind of love.

Collected here for the first time are stories spanning five decades of writing by the “short story master” (Harold Bloom).

As John Banville writes in his introduction to The Love Object, Edna O’Brien “is, simply, one of the finest writers of our time.” The thirty-one stories collected in this volume provide, among other things, a cumulative portrait of Ireland, seen from within and without.

Coming of age, the impact of class, and familial and romantic love are the prevalent motifs, along with the instinct toward escape and subsequent nostalgia for home. Some of the stories are linked and some carry O’Brien’s distinct sense of the comical. In “A Rose in the Heart of New York,” the single-mindedness of love dramatically derails the relationship between a girl and her mother, while in “Sister Imelda” and “The Creature” the strong ties between teacher and student and mother and son are ultimately broken. “The Love Object” recounts a passionate affair between the narrator and her older lover.

The magnificent, mid-career title story from Lantern Slides portrays a Dublin dinner party that takes on the lives and loves of all the guests. More recent stories include “Shovel Kings” — “a masterpiece of compression, distilling the pain of a lost, exiled generation” (Sunday Times) — and “Old Wounds,” which follows the revival and demise of the friendship between two elderly cousins.

In 2011, Edna O’Brien’s gifts were acknowledged with the most prestigious international award for the story, the Frank O’Connor Short Story Award. The Love Object illustrates a career’s worth of shimmering, potent prose from a writer of great courage, vision, and heart.

“The most striking aspect of Edna O’Brien’s short stories, aside from the consistent mastery with which they are executed, is their diversity.”-John Banville