Saunders has downplayed his mid-career move to the larger form of the novel. (He says he’s still “just trying to let the story tell me how long it wants to be.”) Although readers may feel that “Lincoln in the Bardo” has little in common with the author’s dystopian short stories, there’s actually quite a lot of similarity in preoccupation and technique. Saunders often pays imaginative attention to corporations, bureaucracies, and nomenclature (Pfizer should hire the coiner of Docilryde™, Bonviv™, and Darkenfloxx™ the way the Ford Motor Company once enlisted Marianne Moore), and he has a predilection for creepy theme parks: the title stories of “Pastoralia” (2000) and “CivilWarLand in Bad Decline” (1996) involve troubled attractions where caveman life and the American Civil War are reënacted; the latter venue is replete with ghosts and apparitions. In Saunders’s hands, Oak Hill, too, is a kind of theme park, with various rules and precincts and spectacles, as well as opportunities for the author’s parodic gifts. There is the jargon he loves (“this serendipitous mass co-habitation”); the comic grandiloquence (“Had he offered any hope for the alteration of the boy’s fundamental circumstance? Lincoln in the Bardo| George Saunders| ISBN: 775| Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Thalia.de: Über 10 Mio Bücher Immer versandkostenfrei Lieferung nach Hause oder in die Filiale Jetzt »Lincoln in the Bardo. Für seinen ersten Roman 'Lincoln in the Bardo' erhält George Saunders den Man Booker Prize, die wichtigste britische Auszeichnung für Literatur. Lincoln in the Bardo: A Novel| George Saunders| ISBN: 343| Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Lincoln In The Bardo ÜbersetzungIf so, might said hope extend to us as well?”); and a species of his usual interoffice communications in the form of a fictional watchman’s logbook. Seizing on the possibilities of his subject and period, Saunders indulges Lincoln’s own love of bawdy humor when a clutch of spirits invade the President’s body (“Mrs. Crawford entered, being groped as usual by Mr. Lincoln In The Bardo Deutsche ÜbersetzungLongstreet”), and he gives the precocious versifying that Willie practiced in life a Whitmanic afflatus when the boy ponders the possibilities of the hereafter: “Swinging from the chandelier, allowed; floating up to the ceiling, allowed; going to window to have a look out, allowed allowed allowed!” Though Saunders has frequently taken pleasure in the bravura display of grotesque agonies, tenderness is much more fundamentally his line. He likes to create desperate people trying their best to be dignified and gentle, and is drawn to the rescue of children from impending disaster: the fantasy-prone boy doesn’t finally freeze to death in “Tenth of December”; the sweet girl in “Victory Lap” ultimately doesn’t get raped, and the boy next door manages to rescue her without killing the assailant. In his essay collection, “The Braindead Megaphone” (2007), Saunders cites Esther Forbes, the author of the venerable Y.A. Historical novel “Johnny Tremain” (1943), as his “first model of beautiful compression,” someone whose work suggested that “with enough attention, a sentence could peel away from its fellows and be, not only from you, but you.” “Lincoln in the Bardo” may be Saunders’s longest work of fiction, but it is also his most compressed—a series of snippets labelled with the identity of their speakers, almost as if the gravestones in this particular theme park have a push-button audio function for visitors: It was not quite comme il faut that the Barons should presume to speak to the boy.
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AutorEscreva algo sobre si mesmo. Não precisa ser extravagante, apenas uma visão geral. Histórico
Abril 2019
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