OCTOBER 2015 - AudioFile
Simon Vance and Polly Stone share the narration of this collection of short stories about marriage and deceit, set in Paris, a city usually associated with romance. Because most of the pieces are told from a woman's perspective, Stone is the primary narrator, and her excellent characterizations convey the women's varying emotions, depending on the nature of the story. Her impeccable pronunciations and light but recognizable French accent for the dialogue transport listeners to the City of Lights. Stone wisely drops her accent for the narrative, so listeners aren't distracted. Vance, whose French pronunciations are also spot-on, delivers the few pieces told from the male point of view. Although he doesn't use an accent, he nicely captures the stories’ moods. C.B.L. © AudioFile 2015, Portland, Maine
From the Publisher
"Want a bit of sizzle? This new story collection from the author of the New York Times best-selling Sarah’s Key … and, most recently, The Other Story, is reputedly hot, hot, hot." - Library Journal
Library Journal
12/01/2014
This new story collection from the author of the New York Times best-selling Sarah's Key and, most recently, The Other Story, is reputedly hot, hot, hot. After all, what better place to explore the endless allure of forbidden love than Paris?
Kirkus Reviews
2015-04-15
De Rosnay's stories demonstrate 11 ways to deceive and/or leave your lover. In this prolific French novelist's first short story collection, infidelity is a given, particularly for the male of the species. Retribution, however, is women's work. Technology is the petard by which many straying spouses are hoisted: in "The Texts," a wife opts for feigned ignorance of her husband's escapades—if only she can resist the temptation to hack his cellphone. In "The ‘Baby Phone,' " a baby monitor permits a hitherto trusting wife to overhear hanky-panky, and in "The Answering Machine," an unerased message is the harbinger of betrayal. Many of the stories have O. Henry-esque twist endings that American readers may find a bit old-fashioned. Among these is "Hotel Room," wherein a man drops off a letter ending his passionate liaison moments before the no-tell hotel—and perhaps his mistress—is engulfed in flames. Similarly, in "The Red Notebook," a cheating wife bemoans her husband's staidness, which is a sure sign she's in for a surprise. Readers seldom are, however: in "The Brunette from Rue Raynouard," a suspected affair turns out to be sex therapy, and in the "USB Key," a husband chooses an unusual medium to reveal that he's gay, with predictable results. The most promising stories seem to end just as interesting complications begin to arise. "The Password," about a randy professor and a young American studying abroad, refers expressly to the difference between French and American attitudes toward sexual harassment but, sadly, ducks the opportunity to elaborate. (The American women all have names like Hunter, Holly, Taylor, etc., as if de Rosnay has been cribbing from The Preppy Handbook.) In most cases the revenge meted out by the women is not particularly inventive, whether it involves fisticuffs, ("The Au Pair Girl"), sharp objects ("The ‘Baby Phone' "), a dignified exit ("The Woods"), or a Raymond Carver-worthy apartment trashing ("The Strand of Hair"). Stylized sketches rather than fully realized fiction.
