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Claire Messud

Författare till The Emperor's Children

16+ verk 6,866 medlemmar 278 recensioner 6 favoritmärkta

Om författaren

Claire Messud is the author of six works of fiction. A recipient of Guggenheim and Radcliffe Fellowships and the Strauss Living Award from the American Academy of Arts and Letters, she lives in Cambridge, Massachusetts, with her family.

Inkluderar namnen: Claire Messud, Claire Messud

Foto taget av: reading at National Book Festival By Slowking4 - Own work, GFDL 1.2,

Verk av Claire Messud

The Emperor's Children (2006) 3,527 exemplar
Kvinnan på övervåningen (2013) 1,630 exemplar
The Burning Girl (2017) 562 exemplar
Sista livet : roman (1999) 532 exemplar
When the World Was Steady (1995) 215 exemplar
The Hunters (2001) 213 exemplar
A Dream Life (2022) 41 exemplar
The Professor's History (2006) 14 exemplar
A Simple Tale (2015) 5 exemplar
Sista livet (2001) 2 exemplar
Messud Claire 1 exemplar

Associerade verk

Försoning (2001) — Inledning, vissa utgåvor26,545 exemplar
Två allvarligt sinnade damer (1943) — Inledning, vissa utgåvor802 exemplar
The Ball (1930) — Inledning, vissa utgåvor611 exemplar
Unpacking My Library: Writers and Their Books (2011) — Bidragsgivare — 380 exemplar
Mortification: Writers' Stories of Their Public Shame (2003) — Bidragsgivare — 280 exemplar
Granta 66: Truth and Lies (1999) — Bidragsgivare — 161 exemplar
The Use of Man (1976) — Inledning, vissa utgåvor152 exemplar
Granta 51: Big Men (1995) — Bidragsgivare — 117 exemplar
Granta 118: Exit Strategies (2012) — Bidragsgivare — 83 exemplar
Eat Joy: Stories & Comfort Food from 31 Celebrated Writers (2019) — Bidragsgivare — 67 exemplar
Writers on writing (2002) — Bidragsgivare — 29 exemplar


Allmänna fakta



This was a Goodreads giveaway.
I enjoyed this book. It was short but entertaining. Overall, it seemed more like a short story than a novel. Even the way it was written - The beginning and especially, the end - was not as developed as a novel.
Bambean | May 20, 2024 |
"In our lives of quiet desperation, the woman upstairs is all we are, with or without a goddamn tabby or a pesky lolloping Labrador, and not a soul registers that we are furious. We're completely invisible. I thought it wasn't true, or not true of me, but I've learned that I am no different at all. The question now is how to work it, how to use that invisibility, to make it burn." Her anger, her pain, her postponed dreams almost took me down even though the writing is skillful. I love a bleak book but this one found me racing through just to leave her world. The touches of Lebanese politics were welcome diversions but the tenor of this story is fury and the character unsympathetic.… (mer)
featherbooks | 119 andra recensioner | May 7, 2024 |
Could not get through this. Just did not grab me. I have a feeling it is a wonderful novel and I was just not in the right mindset for it.
Bookcrossed to a friend in Berkeley, CA.
Kiri | 103 andra recensioner | Dec 24, 2023 |
One of the central tragedies of adulthood is that virtually no one reaches the childhood potential promised to them. There's simply only a handful of spots to truly be a protagonist in the national narrative. It was a blow to me to learn that I could become a great physician and a pretty decent scientist, but that it's extremely unlikely that I'll ever be known outside of my field. And it's particularly hard because once you make it to a field, you get to rub shoulders with the true giants and feel how little you are.

And that, in a nutshell, is the story of Nora Elridge. Looking at her life in her 30's and realizing that while she's a great teacher and an OK artist, she'll never make a name for herself and other people will always be better and more famous than her. And Nora sacrifices being the protagonist in her own, tiny little story, for being part of something grander. To pretend that this is a novel narrative would be foolish -- and indeed, Messud acknowledges that by directly quoting the famous Love Song of J Alfred Prufrock ("No, am not Prince Hamlet, nor was meant to be; am an attendant lord, one that will do...") -- but it's such a central narrative to humanity that I think it's worth revisiting.

What makes Messud's take on this tale particularly noteworthy are two things: 1) Messud's command of the English language, which is simply incomparable. She never weighs the story down with prose, but each sentence is precise and beautiful. And 2) telling this narrative from a female lens.

I've learned that women are being asked to do too much, so even when I feel like I'm doing a good job at work, I feel like I'm not being the protagonist in my parenting story (since parenting is supposed to be a narrative of lovingly hand-crafted...everything, every moment); when I feel like I'm doing a good job parenting, I feel like I'm not being the protagonist in the canonical scientist story, where science is in all-consuming passion; and when I'm doing either, I feel like I'm losing the plot of the story of being a part of a community of friends and neighbors, or being a leftist who has time during business hours to call my senators or being a book hobbyist, or or or. And yet, I find very few books that resonate with this tension the way that The Woman Upstairs does.

I also think that reading the reviews for this book on goodreads is a pretty incisive tale on why this book is needed: women who don't make it to becoming the protagonist are expected to be Nice above all things. That, in fact, is Messud's point: women have to either be a central protagonist, or they have to be the Woman Upstairs, who follows gender norms, and is nice and helpful and has no personality or drive. It's biting and true. And yet, many reviewers here seem to fault Nora Elridge for not constraining herself to that role -- quite exemplary of how this is a conversation that needs to happen.
… (mer)
settingshadow | 119 andra recensioner | Aug 19, 2023 |



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