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On the hottest day of the summer of 1934, thirteen-year-old Briony Tallis sees her sister Cecilia strip off her clothes and plunge into the fountain in the garden of their country house. Watching her is Robbie Turner, her childhood friend who, like Cecilia, has recently come down from Cambridge. By the end of that day, the lives of all three will have been changed for ever. Robbie and Cecilia will have crossed a boundary they had not even imagined at its start, and will have become victims of the younger girl's imagination. Briony will have witnessed mysteries, and committed a crime for which she will spend the rest of her life trying to atone.… (mer)
rbtanger: I know that the Library Thing Recommendations aren't always completely spot-on, but I just want to say that if I were writing the recommend list, The Blind Assassin by Margaret Atwood would be top of the list. These books have so many similarities that it's hard to count them all.… (mer)
browner56: Two superbly crafted explorations of the cathartic power that comes from the act of writing.
jordantaylor: Both books begin with a young girl witnessing a crime of sorts that will powerfully affect her own life and the lives of her family members. Both books also are set in England during World War II.
BookshelfMonstrosity: These character-driven literary novels set in 20th-century England offer haunting, reflective narratives of secrets, shame and guilt. In each, children make decisions or perform actions that have unintended, tragic consequences and lasting repercussions.… (mer)
BookshelfMonstrosity: Atonement, like Rules of Civility, paints a picture of events that instantly turn characters' worlds upside down. Also set in the 1930s, it highlights the lingering opulence of the age and how that can disappear amid tragedy.
MarieSeltenrych: A wonderful work of literary prose that I can still remember, over 50 years after reading it. It gives the reader a glimpse into a different world that inspired my imagination and even my life.
McEwans roman "Lördag" utspelar sig under endast en dag. I "Försoning" använder han sig av det greppet genom den första delen - halva romanen. Han gör detta mästerligt, nästan overkligt bra. Inspiration har han fått, kan jag tänka, ganska mycket från Virginia Woolf (han antyder ju det själv i romanen också), men till skillnad från henne driver han skickligt en intrig också. Romanen glider över i de andra delarna och tiden flyter på i mera normal "romantakt". Och hans beskrivningar av krigets fasor är fascinerande att ta del av. Då men ar jag inte bara tillbakadragandet från Frankrike, utan (kanske i synnerhet) händelserna på sjukhusen i London som får ta emot de reträtternade soldaterna. Intressant vinkel.
Jag gillar särskilt slutet.
Läsningen av "Lördag" ibland kunde kännas lite torr och akademisk, det finns spår av det även i denna roman, men inte alls lika tydligt. Det är ett plus. ( )
McEwan is technically at the height of his powers, and can do more or less anything he likes with the novel form. He shows this fact off in the first section of Atonement, in which he does one of the hardest things a good writer can do: engrossingly, sustainedly, and convincingly impersonate a bad one.
McEwan is crafty. Even as he shows us the damages of story-telling, he demonstrates its beguilements on every page. Atonement is full of timeworn literary contrivances--an English country house, lovers from different classes, an intercepted letter--rendered with the delicately crafted understanding of E.M. Forster.
If it's plot, suspense and a Bergsonian sensitivity to the intricacies of individual consciousnesses you want, then McEwan is your man and ''Atonement'' your novel. It is his most complete and compassionate work to date.
Ian McEwan's remarkable new novel ''Atonement'' is a love story, a war story and a story about the destructive powers of the imagination. It is also a novel that takes all of the author's perennial themes -- dealing with the hazards of innocence, the hold of time past over time present and the intrusion of evil into ordinary lives -- and orchestrates them into a symphonic work that is every bit as affecting as it is gripping. It is, in short, a tour de force.
Ian McEwan’s new novel, which strikes me as easily his finest, has a frame that is properly hinged and jointed and apt for the conduct of the ‘march of action’, which James described as ‘the only thing that really, for me at least, will produire L’OEUVRE’.
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
"Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English: that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?" They had reached the end of the gallery; and with tears of shame she ran off to her own room. Jane Austen, Northanger Abbey
Dedikation
Till Annalena
Inledande ord
Pjäsen - till vilken Brinoy hade utformat affischerna, programmen och biljetterna, byggt biljettkassan av en vikskärm lagd på sidan, och klätt in insamlingsbössan i rött kräppapper - var skriven av henne under en tvådagars storm av författande som fick henne att gå miste om en frukost och en lunch.
Citat
Information från den engelska sidan med allmänna fakta.Redigera om du vill anpassa till ditt språk.
Novels and movies, being relentlessly modern, propel you forwards or backwards through time, through days, years or even generations. But to do its noticing and judging, poetry balances itself on the pinprick of the moment. Slowing down, stopping yourself completely, to read and understand a poem is like trying to acquire an old-fashioned skill like drystone walling or trout tickling.
How much growing up do you need to do?
It wasn’t only wickedness and scheming that made people unhappy, it was confusion and misunderstanding; above all, it was the failure to grasp the simple truth that other people are as real as you.
A person is, among all else, a material thing, easily torn and not easily mended.
Find you, love you, marry you, and live without shame.
Finally he spoke the three simple words that no amount of bad art or bad faith can ever quite cheapen. She repeated them, with exactly the same slight emphasis on the second word, as though she were the one to say them first. He had no religious belief, but it was impossible not to think of an invisible presence or witness in the room, and that these words spoken aloud were like signatures on an unseen contract.
The anticipation and dread he felt at seeing her was also a kind of sensual pleasure, and surrounding it, like an embrace, was a general elation--it might hurt, it was horribly inconvenient, no good might come of it, but he had found out for himself what it was to be in love, and it thrilled him.
(p313) For all the fine rhythms and nice observations, nothing much happens after a beginning that has such promise.
(p349) She was calm as she considered what she had to do. Together, the note to her parents and the formal statement would take no time at all. Then she would be free for the rest of the day. She knew what was required of her. Not simply a letter, but a new draft, an atonement, and she was ready to begin.
BT London 1999
(p371) The problem these fifty-nine years has ben this: how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no-one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.
On the hottest day of the summer of 1934, thirteen-year-old Briony Tallis sees her sister Cecilia strip off her clothes and plunge into the fountain in the garden of their country house. Watching her is Robbie Turner, her childhood friend who, like Cecilia, has recently come down from Cambridge. By the end of that day, the lives of all three will have been changed for ever. Robbie and Cecilia will have crossed a boundary they had not even imagined at its start, and will have become victims of the younger girl's imagination. Briony will have witnessed mysteries, and committed a crime for which she will spend the rest of her life trying to atone.
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Ian McEwan
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Romanen glider över i de andra delarna och tiden flyter på i mera normal "romantakt". Och hans beskrivningar av krigets fasor är fascinerande att ta del av. Då men ar jag inte bara tillbakadragandet från Frankrike, utan (kanske i synnerhet) händelserna på sjukhusen i London som får ta emot de reträtternade soldaterna. Intressant vinkel.
Jag gillar särskilt slutet.
Läsningen av "Lördag" ibland kunde kännas lite torr och akademisk, det finns spår av det även i denna roman, men inte alls lika tydligt. Det är ett plus. (