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Cargando... The Changelingpor Kenzaburō Ōe
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Inscríbete en LibraryThing para averiguar si este libro te gustará. Actualmente no hay Conversaciones sobre este libro. Im Mittelpunkt: der Freitod des Freundes und Schwagers. Ōe spinnt ein Geflecht aus Zeiten und Orten, zusammengehalten durch dem Dialog über den Tod hinaus mit der auf Band aufgenommenen Stimme des Freundes, abgespielt auf dem „Tagame“, dem von Ōes Alterego Kogito wie ein „Schildkäfer“ erscheinenden und von ihm so genannten Gerät. Warum wählte der erfolgreiche Filmregisseur den Tod? Der Dialog mit dem toten Freund - kannte Kogito den Freund, seine Frau den Bruder überhaupt? - wird zur Bedrohung des täglichen Lebens der Familie. Ich war fasziniert von diesem Netz, wünschte das Ende des Buches nicht herbei. Die Übersetzung liest sich gut; das einzige Wort, an dem ich mich störe, aber mit dem man von jetzt an wohl oder übel zu leben hat, ist die falsch anglisierende Wortmonstrosität: „Handy“, das mir jedesmal wenn ich es höre, einen innerlichen Wutkrampf gibt. Wie ist es möglich, dass die deutsche Sprache sich so hat vergewaltigen lassen? (V-14) L'ennesimo libro acquistato di recente infarcito di refusi ortografici - grossolani e recidivi! -, che mortificano l'impegno del traduttore - Gianluca Coci, per me una bella scoperta -, e che penalizzano la lettura. Premesso ciò, non fatevi scoraggiare da una apparente lentezza della trama e da una apparente opacità dei personaggi, ma lasciatevi sedurre piano piano: in breve, questo romanzo vi entrerà sottopelle. Decided to branch out with Oe after rereading A Personal Matter. Picked this. This is a long wandering road through memory and history, communicating with the dead. Does have a tendency to reference some Japanese political history, from the Meiji to MacArthur to Yukio Mishima, so a little background is required for the Westerner, at least. Very beautiful ending. I really enjoyed this book, and I believe Oe's masterful writing is the reason. There is very little plot and it unfolds slowly, yet somehow you I couldn't put it down (it's long, but a quick easy read). More than halfway through I started to question my intense interest, in the absence of any discernible storyline. It's the dread. A very subtle yet terrifying sense of an unknown horror, hidden, lurking in the pages kept me reading. The characters themselves do not seem to be aware of what is coming. (They are aware, but they have forgotten, or chose to forget...) That could only be pulled off by a true genius. So the book is about experiences that are turning points-- the events that define an individual, and the memories of those events. It is also about people finding their own means of self expression and their own story to tell. It doesn't really matter who the characters were or what happened to them. The story is transcendent, universal. I do wish the last chapter and the epilogue had pulled the thread just a little bit more. I am going to the library this weekend to get Outside, Over There, by Maurice Sendak. Perhaps it will fill in the small missing gaps in the experience of reading The Changeling.
Oe's next novel, "The Changeling," has just come out in English, and it offers evidence that the Japanese master has regained his footing. The first volume of a trilogy, it finds Oe maintaining the stripped-down, third-person prose he adopted in "Somersault" while returning to the autobiographical sources that have, for decades, served him well. Chatty and casually indulging in cliché, the narration at times feels closer to the minimalism of Haruki Murakami than to Oe's once ostentatious prose. But "The Changeling" is not a bland novel -- far from it. It is a richly imagined, complex story full of the oddity, irony and existential angst that have long been at the heart of Oe's writing, only here they are seen more often on the level of plot and structure than on that of sentence and image. The normally perceptive book critic Michael Dirda has complained that Oe's "Changeling" lacks a "clear and compelling narrative line," but in fact the lack of a simple first-this-happened- then-that-happened plot is in no way regrettable. The form Oe employs, at once more intricate and more freewheeling, is in fact among the novel's most exciting aspects. This packaging isn't altogether deceptive, because the event at the heart of The Changeling – an unsettling, indeterminate incident during the postwar occupation of Japan – wouldn't be out of place in a Murakami story. Nor would the opening, in which Kogito Choko, an ageing, eminent Japanese writer, starts spending his evenings listening to taped monologues sent to him by Goro Hanawa, a famous film director and former actor who's also Kogito's friend and brother-in-law. "That's it for today," Goro's voice says one evening; "I'm going to head over to the Other Side now." There's a thud, then Goro's voice continues: "But don't worry, I'm not going to stop communicating with you. That's why I made a special point of setting up this system." Kogito falls into a doze; his wife, Chikashi, wakes him with the news that Goro, her only brother, has killed himself by jumping off a building. The Changeling, Oe’s most recently translated novel published by Grove Press, is a work that directly addresses the relationship between fact and fiction in literature. The protagonist of the story is an established sixty-odd year old Japanese author who is sent a case of cassette tapes from his brother-in-law, a friend since their teenage years and now a famous movie director. The tapes are a series of monologues by the brother-in-law, in which he reminisces about their relationship over the years along with ruminations about their mutual artistic endeavors. On the last tape, the brother-in-law cryptically announces that he is now “going to the Other Side”, and then, nothing but a loud thump. And as soon as the protagonist hears this, his wife comes in to tell him that his brother-in-law was found dead—he had committed suicide by jumping off the roof of his office building. The rest of the novel follows the protagonist as he tries to piece together why his brother-in-law committed suicide. He obsesses over the contents of the tapes by starting a nightly ritual of “talking” to his dead friend, an addiction so compelling he takes a year-long guest professorship at a university in Berlin to leave the tapes behind and free himself. However, the majority of the novel is set in periodic flashbacks, highlighting important events in their lives that led them down the paths they take today. The Changeling is thus a long meditation on the power of real life events and how they shape a person and their fiction. It’s both a love letter to the creative process, as well as a philosophical treatise on the power of art and the way it reflects an inescapable past. In a way, The Changeling feels like it might be a work more personal to Oe than even a novel like A Personal Matter. It’s a direct view into the soul of Oe the writer, as opposed to Oe the father or Japanese citizen, and in a way, that’s more powerful.
Cuando Goro, un afamado director de cine japonés, se suicida, su cuñado y amigo, el escritor Kogito, queda devastado y no consigue entender los motivos que han provocado esta fatal decisión. Para huir de la tristeza viaja a Alemania, donde poco a poco se le revelan las posibles causas de la muerte de Goro: su aventura sexual con una joven o el ataque de la yakuza, la temida mafia japonesa a la que Goro había satirizado en una de sus películas. Renacimiento está basado en un hecho real: el suicidio del cineasta Juzo Itami, cuñado de Kenzaburo Oé, que conmocionó a la sociedad japonesa y en el que muchos siguen viendo la mano de la yakuza. Oé relata sus encuentros y los de Itami con el violento mundo de esta banda criminal, a la que ambos se enfrentaron en sus creaciones, y, entrelazando la crudeza de la realidad con la fuerza de la ficción, teje una historia que conecta la pérdida con la esperanza de nuevos nacimientos. Primer libro de una trilogía compuesta también por ¡Adiós a mis libros! y El chico de la cara melancólica, todos ellos protagonizados por Kogito, álter ego de Oé, Renacimiento fue todo un acontecimiento en Japón y la crítica no dudó en definirla como una de las novelas más especiales del Premio Nobel. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)895.635Literature Literature of other languages Asian (east and south east) languages Japanese Japanese fiction 1945–2000Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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By a Nobel Prize winning Japanese author, the book seems semi-autobiographical, and seems like someone's idle musings being put down on paper - at length.
There is more to it than meets the eye, but I was left a little underwhelmed. As with most Japanese novels, the reader gets an insight into the differences in culture/outlook between Japanese and our home societies.
I see online that there are 5 novels in this reflective stream of consciousness style. I don't nned more of it. I think I'll be looking for some of his earlier books for an appreciation of what led to his Nobel Prize. ( )