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Tekijä: Paul Auster
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Ei tämänhetkisiä Keskustelu-viestiketjuja tästä kirjasta.
I felt like nothing happened in this one, and I didn't really care about the characters. Naming them Blue and Black made the whole thing seem too general, as if none of the events really mattered. I can see the argument that the point of doing this is to show that the same dynamic arises in all three stories and the individual players don't matter, but that doesn't make it fun to read. I didn't have this problem with the first book of the trilogy and haven't so far with the third. ( )
Because Ghosts is the second book in a trilogy, I'm going to write my review in sections, each an impression after completing one book of the three. I'm also going to delay rating the book, since the conclusion of each book is (hopefully) clarified by the contents of the successive books.
If City of Glass was an odd book, Ghosts is its eerie twin. As they always said at the start of Dragnet: the names have been changed to protect the innocent. Only in this case it seems in order to confuse the reader, to provide him with a sense of deja vu. As you read, you get a strong sense that this novel is headed to the same place its predecessor wound up at.
Mr. Blue, the protagonist, provides us with some details of his personal history leading up to the case which forms the backbone of the novel. He is head of his own detective agency. Mr. White has hired him to watch Mr. Brown. The purpose of this surveillance is unclear. Unlike Quinn from the first book, Mr. Blue has no alter-egos and doesn't assume the persona of anyone else. He does occasionally uses disguises to interact with Mr. Brown, first as a bum, then as the Fuller Brush man. Like Quinn, Mr. Blue's assignment eventually destroys both his life and his psyche. Like City of Glass, an unknown first-person narrator injects himself into the story on the final page and leaves us in the same dissatisfying position of not knowing the whereabouts of Mr. Blue at the conclusion of the story.
Like its predecessor, Ghosts is also a novel filled with details of New York City - the story of the builders of the Brooklyn Bridge, for example. Walt Whitman, Henry Ward Beecher and other former inhabitants of Orange Street - where the story occurs - play an important part. As does Thoreau. It feels a little Ragtime-ish in its blend of history and fiction. At a mere sixty pages and only a handful of words requiring a consultation with Meriam and Webster, it takes only a few hours to read. But it leaves you with the same puzzlement City of Glass did. Having glanced at the first page of The Locked Room, the final book in the trilogy, I don't believe I'm going to learn the fates of any of the characters from either of the first two novels. That I will be left wondering if this is just the detective fiction version of Invisible Cities, a book that isn't about what its contents claim to be about at all.
Sometimes your ideas fall flat. Writing my reviews of the New York Trilogy in sections turned out to be less clever and meaningful than I had envisioned.
Because the surnames of all the characters of Ghosts are colors, I had the sense that this was more allegorical or theoretical in nature. When the characters failed to reappear in the final novel, The Locked Room, my premonition mentioned at the end of Part I was realized. You never find out the fates of any of the characters.
As I wrote about City of Glass, this is a well-written, somewhat entertaining novel but I wouldn't include it on my must-read list for the same reason: its unresolved plot leaves me unsure of what the book is supposed to be about.
De las tres, tal vez la menos buena, pero sigue siendo absolutamente disfrutable. Tal vez es la que en apariencia es más ligera o sencilla y no tiene el factor sorpresa de Ciudad de Cristal o el regalo del hilo que conecta a las tres, que te da La Habitación Cerrada.
Sin embargo, el concepto de ser un Fantasma, es grandioso.
Paul Auster's Ghosts (1983) reads like the square root of a hard-boiled detective noir novel, an off-the-wall, bizarre mystery where there is no crime and the whodunit is replaced by a meditation on the nature of identity. Here are the opening few line: "First of all there is Blue. Later there is White, and then there is Black, and before the beginning there is Brown. Brown broke him in, Brown taught him the ropes, and when Brown grew old, Blue took over." Blue is a detective and it is Blue we follow on every page of this sparse (less than 100 pages) novel set in 1947 New York City. Actually, this is the 2nd of the author's The New York Trilogy, bookended by City of Glass and The Locked Room.
To gain an initial feel for the novel, please go to Youtube and watch a snippet of one of those 1940s black-and-white noir films, like The Naked City. You will see lots of hard-talking tough guys in gray suits and gray hats running around city streets socking one another in the jaw and plugging one another with bullets -- plenty of action to be sure. And that's exactly the point - a world chock-full of police, detectives, crooks and dames is a world of action.
But what happens when one of those 1940s detectives is put on a case where all action is stripped away, when the only thing the detective has to do is look out his apartment window and keep an eye on a man across the street in another apartment sitting at his desk reading or writing? This is exactly what happens in Ghosts. So, rather than providing a more detailed synopsis of the story (actually, there is some action and interaction), I will cite several of Blue's musing along with my brief comments on Blue's relationship to literary and artistic creation:
"Until now, Blue has not had much chance for sitting still, and this new idleness has left him at something of a loss. For the first time in his life, he finds that he has been thrown back on himself, with nothing to grab hold of, nothing to distinguish one moment from the next. He has never given much through to the world inside him, and through he always knew it was there, it has remained an unknown quantity, unexplored and therefore dark, even to himself." --------- So, for the first time in his life, Blue is given a taste of silence and solitude, the prime experience of someone who is a writer.
"More than just helping to pass the time, he discovers that making up stories can be a pleasure in itself." ---------- Removed from the world of action and building on his experience of silence and solitude, Blue is also given a hint of what it might mean to be a fiction writer, one who sits in isolation, exploring the inner world of imagination in order to create stories. And, on the topic of stories, the unnamed narrator conveys how Blue reflects on many stories, including the building of the Brooklyn Bridge, stories from the lives of Walk Whitman and Henry David Thoreau, and several stories Blue reads in his all-time favorite magazine: True Detective. Auster's short novel is teaming with stories.
"For the first time in his experience of writing reports, he discovers that words do not necessarily work, that it is possible for them to obscure the things they are trying to say." ---------- Blue discerns it is possible that words cannot adequately articulate the depth and full range of human experience. And what is true of a detective's report is truer for works of great literature: there is a rich, vital, vibrant world of feeling and imagination beyond the confines of words and language.
"Finally mustering the courage to act, Blue reaches into his bag of disguises and casts about for a new identity. After dismissing several possibilities, he settles on an old man who used to beg on the corner of his neighborhood when he was a bog - a local character by the name of Jimmy Rose - and decks himself out in the garb of tramphood . . ." ---------- During the course of the novel, Blue take on a number of different identities and with each new persona he experiences life with a kind of immediacy and intensity. Spending a measure of his creative life as a screenwriter and director, Paul Auster undoubtedly had many encounters with actors thriving on their roles, energized and invigorated as they performed for the camera. I suspect Auster enjoyed placing his detective main character in the role of actor at various points.
Ghosts can be read as a prompt to question how identity is molded by literature and the arts. How dependent are we on stories for an understanding of who we are? In what ways do the arts influence and expand our sense of self? Do we escape purposelessness and boredom by participating in the imaginative worlds of art and literature?
Mavi, bir özel dedektif. Müşterisi Beyaz için Turuncu Cadde’de oturan Siyah’ı izleyip hakkında ayrıntılı rapor yazmaya çalışıyor. İnsanların sadece renklerle var olduğu, kimin gerçek, kimin hayal ürünü ya da hayalet olduğu anlaşılmayan bir ortamda gerilim yaratan olaylar sonunda Mavi, neredeyse Siyah’ın yaşamı içinde kaybolma noktasına geliyor. Bir başkasını izleme teması üzerine kurulu polisiye roman şablonu bu kitapta kişinin kendi kendini izlemesi sonucuna vararak genel geçer klişenin dışında bir özgünlük taşıyor. Kişilerin benlik arayışları ve gerçek arasındaki ilişkiler, Paul Auster’ın akıcı diliyle hayata geçiyor.
Näyttää 1-5 (yhteensä 14) (seuraava | näytä kaikki)
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Compactos Anagrama (146)
New York -trilogia (tekijä: Paul Auster)
Collected Novels Volume 1 (tekijä: Paul Auster) (epäsuora)
El caso parecia bastante sencillo. El senor Blanco, que aparecio un dia repentinamente, cuando en la vida del detective Azul parecia que ya nada iba a cambiar, queria que Azul siguiera a un hombre llamado Negro, que lo vigilara sin pausa todo el tiempo que hiciera falta. Azul necesitaba un trabajo y no hizo demasiadas preguntas, aunque sospechara desde un principio que Blanco no era el hombre que decia ser. Lo que el detective no sabia era que el caso duraria anos, y que cuando desvelara el misterio, o le pusiera un final, si es que a aquello puede llamarsele un final, lo que descubriria seria quiza su propio misterio, lo que atisbaria seria su propio final.Situada entre los laberintos detectivescos de Chandler y los paramos existenciales de Beckett, Fantasmas comienza con todos los requisitos de una novela policiaca, pero adquiere muy pronto, y sin perder nada de su suspense, una dimension metafisica. Y el lector se desliza de un misterio policiaco a un enigma metafisico, de la pregunta quienes el culpable?, a otra mucho mas dificil de responder, que es ser culpable?El final de los personajes austerianos es el propio de los heroes. A veces son recompensados por el coraje de emprender una mudanza radical de sus personas, otras pagan con sus vidas el desafio a la normalidad, pero todos salen enriquecidos por la transformacion y la aventura... esa aventura que ofrece la vida a cada esquina, si uno quiere dejarse la piel en ella, tal y como nos propone una y otra vez ese mago llamado Paul Auster.
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Melvil Decimal System (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999
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