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Laddar... Himlakroppar (2013)av Eleanor Catton
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![]() ![]() The Luminaries is... delectable! Fumbling for the right word, I find myself thinking of what Lydia Wells would say, one of the characters so memorably brought to life in this staggering novel. You may not like this book. If you don't have a yen for 800 page doorstoppers, elaborate 19th century structures and language styles, and dense thickets of plot, look elsewhere. (I'm not usually a fan of the latter, but if it comes packaged in the former, that rather changes my opinion.) If, however, you enjoy the heady combination of heightened language, courtroom (and behind-the-courtroom) drama, and historical fiction with a wry 21st century undercoat, this is for you. The Luminaries is also the beneficiary of a (pardon the pun) stellar audiobook narrated by Mark Meadows, who handles each of Catton's twenty-plus characters with panache. I rarely recommend the audio over the literary experience, but I think in this case, with the heavy emphasis on dialogue and narrative tone-of-voice, Meadows' performance amplifies and augments everything great in Catton's writing. Exquisite. This book was very interesting and I liked how it was structured. I had to read about the structure of the book and the significance of the astrological information to understand it after the fact. I think this aspect would have been more obvious if I were reading instead of listening. The story was complex and engrossing. It's one of those books that makes you marvel at the complexity of the plot and wonder how in the world someone constructs a story so intricate and detailed. I was worried about listening to this book because of the number of characters but the author did a very good job of making the characters distinct and memorable. This was helped significantly by the wonderful narrator who gave each character a distinct voice, literally. I particularly liked the characters Anna, Emery, Francis Carver, and Lydia. The Luminaries reminded me a bit of Umberto Eco with intricate threads of narrative that wove together to create a mysterious, compelling tale set in New Zealand during the gold rush. Eleanor Catton uses astrology to form the foundation of the book and I am not sure I completely grasped those links. The book revolves around the murder of a man and, of course, a fortune in gold. It is huge and Victorian and I enjoyed it. Two interesting tidbits: John Mullan in The Guardian compares it to Wilkie Collins The Woman in White which I read and enjoyed this year. Mullan also comments that the many characters, false identities and post twists means that, while it will take some time to read, you may also have to reread parts to refresh your memory when you come back to the book. I had to do that early on and then just decided to keep reading. Another one I had to give up. Far too long and complex. It surprised me as I am interested in the NZ gold rush, 19th century and so on. Every chapter starts with a baffling quote about the astrological cycle. I may give it another go, starting from where I left off, but I doubt it. Life’s too short!
It is complex in its design, yet accessible in its narrative and prose. Its plot is engrossing in own right, but an awareness of the structure working behind it deepens one’s pleasure and absorption. As a satisfying murder mystery, it wears its colours proudly, yet it is not afraid to subvert and critique the traditions and conventions of its genre. Best of all, while maintaining a wry self-awareness about its borrowings and constructions, it is never a cynical novel. At times, it can be unapologetically romantic, in both its narrative content and its attitude towards the literary tradition it emulates. It is a novel that can be appreciated on many different levels, but which builds into a consistent and harmonious whole. Is Ms. Catton’s immense period piece, set in New Zealand, for readers who want to think about what they should be thinking? The book’s astrology-based structure does not exactly clarify anything. Its Piscean quality, she writes in an opening note, “affirms our faith in the vast and knowing influence of the infinite sky.” It’s easy to toss around words like “potential” and “promising” when a young author forges the kind of impression made by Eleanor Catton with her 2009 debut, The Rehearsal, a formally tricky but assured novel that hinged on teacher-student sexual relations. It won the Amazon.ca First Novel Award and the Betty Trask Award, and was a finalist for a handful of other plaudits, including the prestigious Dylan Thomas Prize for the best work by a writer under the age of 30. Making good on those expectations is another matter. With her ambitious second novel, Catton has accomplished that – and a great deal more. [...] The Luminaries is a novel that can be enjoyed for its engrossing entirety, as well as for the literary gems bestowed on virtually every page. The Luminaries has been perfectly constructed as the consummate literary page-turner. But it is also a massive shaggy dog story; a great empty bag; an enormous, wicked, gleeful cheat. For nothing in this enormous book, with its exotic and varied cast of characters whose lives all affect each other and whose fates are intricately entwined, amounts to anything like the moral and emotional weight one would expect of it. That's the point, in the end, I think, of The Luminaries. It's not about story at all. It's about what happens to us when we read novels – what we think we want from them – and from novels of this size, in particular. Is it worthwhile to spend so much time with a story that in the end isn't invested in its characters? Or is thinking about why we should care about them in the first place the really interesting thing? Making us consider so carefully whether we want a story with emotion and heart or an intellectual idea about the novel in the disguise of historical fiction … There lies the real triumph of Catton's remarkable book. The narrative structure intrigues, moving Rashomon-like between viewpoints and the bounds of each character’s separate sphere of knowledge, without ever losing the reader, various characters playing detective then stepping aside. The novel has many attributes – excellent dialogue, humour, great observation, as when two acquaintances at a party share the same expression:......Catton matches her telling to her 19th-century setting, indulging us with straightforward character appraisals, moral estimations of each character along with old-fashioned rundowns of their physical attributes, a gripping plot that is cleverly unravelled to its satisfying conclusion, a narrative that from the first page asserts that it is firmly in control of where it is taking us. Like the 19th-century novels it emulates, The Luminaries plays on Fortune’s double meaning – men chasing riches, and the grand intertwining of destinies. Har som instuderingsbokPriserPrestigefyllda urvalUppmärksammade listor
En hisnande ls̃upplevelse om guldrushens Nya Zeeland skriven av det litterr̃a stjr̃nskottet och mottagaren av Man Booker-priset 2013, Eleanor Catton. ¿ret r̃ 1866 och Walter Moody har som s ̄mn̄ga andra kommit till Nya Zeelands guldgruvor fr̲ att sk̲a lyckan. Samma stormiga natt som han anlñder stt̲er han p ̄ett mr̃kligt sl̃lskap bestēnde av tolv mñ som har samlats fr̲ att i hemlighet diskutera en serie ols̲ta brott. En rik man har spr̄ls̲t fr̲svunnit, en prostituerad har fr̲sk̲t att ta sitt eget liv och en enorm fr̲mg̲enhet att hittats hemma hos en alkoholiserad enstr̲ing. Walter Mody dras snabbt in i ett ṽentyr som r̃ lika komplext och gt̄fullt som stjr̃nhimlen. Himlakroppar r̃ en andls̲t spñnande historia i samma klass och format som de stora 1800-talsromanerna. Eleanor Catton tar oss med in i en magisk, viktoriansk vr̃ld fylld av hp̃nadsvc̃kande fr̲vecklingar och oemotstn̄dliga rikedomar. En vr̃ld dr̃ allting tycks hñga ihop, men dr̃ ingenting r̃ vad det till synes vara. [Publit] Inga biblioteksbeskrivningar kunde hittas. |
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