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Stella Maris
- Narrateur(s): Julia Whelan, Edoardo Ballerini
- Durée: 4 h et 54 min
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Histoire
David Foster Wallace made an art of taking readers into places no other writer even gets near. In his exuberantly acclaimed collection, Brief Interviews with Hideous Men, he combines hilarity and an escalating disquiet in stories that astonish, entertain, and expand our ideas of the pleasures that fiction can afford.
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Absalom, Absalom! tells the story of Thomas Sutpen, the enigmatic stranger who came to Jefferson township in the early 1830s. With a French architect and a band of wild Haitians, he wrung a fabulous plantation out of the muddy bottoms of the north Mississippi wilderness. Sutpen was a man, Faulker said, "who wanted sons and the sons destroyed him". His tragedy left its impress not only on his contemporaries but also on men who came after, men like Quentin Compson, haunted even into the 20th century by Sutpen's legacy.
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Consider the Lobster
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Do lobsters feel pain? Did Franz Kafka have a funny bone? What is John Updike's deal, anyway? And what happens when adult video starlets meet their fans in person? David Foster Wallace answers these questions and more in essays that are also enthralling narrative adventures.
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David Foster Wallace is a good
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Auteur(s): David Foster Wallace
Description
NEW YORK TIMES BEST SELLER • The second volume of The Passenger series, from The Pulitzer Prize-winning author of The Road • An intimate portrait of grief and longing, as a young woman in a psychiatric facility seeks to understand her own existence.
"The richest and strongest work of McCarthy’s career…An achievement greater than Blood Meridian…or…The Road.”—The Atlantic
1972, BLACK RIVER FALLS, WISCONSIN: Alicia Western, twenty years old, with forty thousand dollars in a plastic bag, admits herself to the hospital. A doctoral candidate in mathematics at the University of Chicago, Alicia has been diagnosed with paranoid schizophrenia, and she does not want to talk about her brother, Bobby. Instead, she contemplates the nature of madness, the human insistence on one common experience of the world; she recalls a childhood where, by the age of seven, her own grandmother feared for her; she surveys the intersection of physics and philosophy; and she introduces her cohorts, her chimeras, the hallucinations that only she can see. All the while, she grieves for Bobby, not quite dead, not quite hers. Told entirely through the transcripts of Alicia’s psychiatric sessions, Stella Maris is a searching, rigorous, intellectually challenging coda to The Passenger, a philosophical inquiry that questions our notions of God, truth, and existence.
Ce que les critiques en disent
“[Stella Maris] is a Tom Stoppardesque bull session. Does it work? Uh-huh. Does it work more fully if you’ve already read The Passenger? Absolutely…Stella Maris is…[an] elegiac novel. It’s best read while you are still buzzing from the previous book. Its themes are dark ones, and yet it brings you home, like the piano coda at the end of “Layla.” No one in the real world talks the way Alicia does — she’s seeing with her third eye, flexing her middle finger at the world, rocking her family’s thundersome legacy — but they might if they could. She lays down…cataclysmic one-liners…All this is cut with humor…The most moving moments in Stella Maris braid [Alicia’s] feelings for her brother, which go through her like a spear, with a sense of intellectual futility. Reading Stella Maris after The Passenger is like trying to hang onto a dream you’ve been having. It’s an uncanny, unsettling dream, tuned into the static of the universe.”—Dwight Garner, The New York Times
"In the new pair of novels...a fresh space is made to enable the exchange of ideas, and the rhetorical consequences are felt in the very textures of the fiction....[McCarthy's] ear for dialogue has always been impeccable; in these novels...people think and speak rationally, mundanely, intelligently, crazily, as they do in real life...And along with the excellent dialogue there are scores of lovely noticings, often of the natural world....Authoritatively eloquent."—James Wood, The New Yorker
"Cormac McCarthy has never been better…The booming, omnipotent narrative voice, which first appeared in McCarthy’s Western novels of the 1980s...has ebbed almost entirely in these books…What remain are human voices, which is to say characters, contending with one another and with their own fears and regrets, as they face the prospect of the godless void that awaits them. The result is…pleasurable, and together the books are the richest and strongest work of McCarthy’s career…McCarthy’s latest…novels represent a return to human concerns, but ones—love, death, guilt, illusion—experienced and scrutinized on the highest existential plane…As a pair, The Passenger and Stella Maris are an achievement greater than Blood Meridian…or…The Road…In the new novels, McCarthy again sets bravery and ingenuity loose amid inhumanity….The results are not weakly flickering. They are incandescent with life."—Graeme Wood, The Atlantic
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Ce que les auditeurs disent de Stella Maris
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Histoire
- Paul J. Lane
- 2022-12-16
Utterly Brilliant
Read the Passenger first for context. This is as thought filled book as you will ever read. A few days later I am still coming to terms with it. The performance is the best I have had in audible.
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