Mieke Lindenburg Ordine dei libri (cronologico)

The New Novel From The Orange Prize Winning Author Of We Need To Talk About Kevin It All Hinges On One Kiss. Whether Irina Mcgovern Does Or Does Not Lean In To A Specific Pair Of Lips In London Will Determine Whether She Stays With Her Disciplined, Intellectual Partner Lawrence Or Runs Off With Ramsey, A Hard-Living Snooker Player. Using A Parallel Universe Structure, We Follow Irina'S Life As It Unfolds Under The Influence Of Two Drastically Different Men. Lawrence Is Irina'S Partner Of Nearly Ten Years. Ramsey Is The Ex-Husband Of A Sometime Friend, A Once-A-Year Acquaintance To Whom Irina Has Never Paid A Great Deal Of Attention. Where Lawrence Is Supportive And Devoted; Ramsey Is Flighty And Spontaneous. Lawrence Is Emotionally Withdrawn To The Point Of Repression; Ramsey Is Fiery And Passionate, But Volatile. The Contrasts Between The Two Men Have Ramifications For Irina'S Relationships With Friends And Family, For Her Career As An Illustrator, And More Importantly, For The Texture Of Her Daily Life. This Love Is About Trade-Offs. Both Men In Irina'S Dual Future Are Worthy Of Her Affection But Deeply Flawed. The Answer Is That There Is No Perfect Answer: One Of The Things That Draws Us To Our Mates Is What Is Wrong With Them. The Post-Birthday World Is Written With All The Subtlety, Perceptiveness And Drama That Made We Need To Talk About Kevin An International Bestseller.

La Bishop's Hill Academy, una scuola per ragazzini disadattati, si trova sull'orlo del fallimento. Ma il nuovo preside, Jim Hawthorne, noto e stimato psicologo-psichiatra, sta facendo di tutto per risollevarne la sorte. Tuttavia l'accoglienza non è delle migliori: colleghi e collaboratori, malgrado le parole di apprezzamento, restano diffidenti e distanti. La vita nella scuola si fa sempre più difficile, e lo stesso Hawthorne viene preso di mira da un aserie di scherzi feroci. Inevitabilmente riemerge anche il suo passato: sua moglie e sua figlia sono state uccise da un adolescente che aveva in cura. Ben presto la realtà si trasforma in un incubo: il suicidio dello psicologo omosessuale, la misteriosa scomparsa del cuoco, l'omicidio di un ragazzo...

First published in 1993, The Virgin Suicides announced the arrival of a major new American novelist. In a quiet suburb of Detroit, the five Lisbon sisters--beautiful, eccentric, and obsessively watched by the neighborhood boys--commit suicide one by one over the course of a single year. As the boys observe them from afar, transfixed, they piece together the mystery of the family's fatal melancholy, in this hypnotic and unforgettable novel of adolescent love, disquiet, and death. Jeffrey Eugenides evokes the emotions of youth with haunting sensitivity and dark humor and creates a coming-of-age story unlike any of our time. Adapted into a critically acclaimed film by Sofia Coppola, The Virgin Suicides is a modern classic, a lyrical and timeless tale of sex and suicide that transforms and mythologizes suburban middle-American life.

Konstantin Irgoenov is een acteur die liever een rol op het toneel speelt dan in het leven. Hij is bereid zich bepaalde offers te getroosten als hij daardoor de rol kan krijgen waarvan hij al zo lang droomt: die van de valsspeler Satin in Maksim Gorki's 'Aan de grond'. Na talloze vernederingen en pesterijen lukt het Irgoenov de rol te krijgen en hij speelt de Satin-figuur schitterend. Maar toch helpen het daverende succes en een enthousiast artikel in de Moskouse Pravda hem geen milimeter verder op weg naar persoonlijke satisfactie. Integendeel, het succes dwingt hem tot nieuwe compromissen. De auteur trekt een parallel tussen het Rusland van de tsaren zoals dat in het begin van de twintigste eeuw beschreven is door Gorki, en de hedendaagse Sovjetunie. Talrijke problemen die actueel waren in het tsaristische Rusland dienen zich nu weer met hernieuwde kracht bij de homo sovieticus aan. In de eerste plaats het probleem van de menselijke vrijheid en het behouden van de eigen individualiteit. Zonder dit laatste is het zelfs in de kunstmatige, zo sterk op een theater lijkende wereld van een districtshoofdplaats in de Sovjetunie niet mogelijk een goed acteur te zijn.