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Beatrice and Virgil [Kindle Edition]

Yann Martel
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Produktbeschreibungen

Pressestimmen

A provocative and fiercely brave novel. It grips the reader with teeth as sharp as a Bengal tiger's - author of The Boy in the Striped Pyjamas

Pressestimmen

A provocative and fiercely brave novel. It grips the reader with teeth as sharp as a Bengal tiger's - author of The Boy in the Striped Pyjamas

Produktinformation

  • Format: Kindle Edition
  • Dateigröße: 489 KB
  • Seitenzahl der Print-Ausgabe: 225 Seiten
  • ISBN-Quelle für Seitenzahl: B004QPXK70
  • Verlag: Canongate Books (3. Juni 2010)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B003OQUJDA
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Nicht aktiviert
  • Durchschnittliche Kundenbewertung: 3.5 von 5 Sternen  Alle Rezensionen anzeigen (4 Kundenrezensionen)
  • Amazon Bestseller-Rang: #274.614 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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9 von 9 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Brüllaffe und Esel im Gespräch 30. Juni 2010
Format:Taschenbuch
Nachdem es ja lange gedauert hat bis etwas neues von Yann Martel erschienen ist, musste ich dieses Buch auf der Stelle haben - Life of Pi ist ja einfach genial.

Vorweg: die Genialität von Life of Pi wird in diesem Buch nicht erreicht. Das fiktive Theaterstück von einem Brüllaffen und Esel ist aber in vieler Hinsicht sehr lesenswert. Ich habe zwar etwas länger gebraucht, um in das Buch zu finden, aber dafür ist das Ende und die Nachwirkung umso größer.

Verraten werde ich nicht viel. Aber die Novelle bietet eine sehr neue Ansicht für viele Dinge (Holocaust, Leben, Liebe, Trauer, Horror und ...). Am Anfang versteht man noch nicht wo der Autor wirklich hin will - dies bleibt eigentlich bis zum Ende so. Meiner Meinung nach ist das aber so gewollt - Dieses Buch kann man einfach lesen, doch damit versteht man es nicht. Man muss den Gedanken und den Ansetzen folgen sowie die Gesamtheit der Ideen an- und überdenken. Alte, bekannte und allgemeine Dinge in neuer "schräger" Sichtweise zu erzählen und die Gedanken zu fördern --> das ist das Ziel dieses Buches!

Damit habe ich alles gesagt
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1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen schwieriges buch 10. Januar 2012
Von esc
Format:Taschenbuch|Verifizierter Kauf
auch ich habe mir das neue werk von martel aufgrund des lesegenusses von "life of pi" gekauft und war bis über die hälfte der lektüre etwas verwirrt und auch enttäuscht, und dachte mir dem autor geht es so wie seiner hauptfigur, dem schriftsteller henry, der das thema holocaust nicht ganz in einem "fiction"-werk zu fassen bekommt. auch vermisste ich den roten faden, den zusammenhang bzw den sinn der ganzen geschichte. ich dachte auch, dass mich das buch nicht besonders fesselt und ich es schnell vergessen werde. gegen ende ist dann doch ein gesamtkunstwerk daraus entstanden, das einen unglaublich sprachlos und schockiert zurücklässt. es verdichtet sich ungemein und überrascht den leser. schon aus diesem grund bin ich froh, das buch gelesen zu haben. ich bin aber immer noch zwiespältig bei der bewertung und ich glaube die lektüre wird mir noch einige gedanken bescheren...
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3.0 von 5 Sternen vorhersehbar... 19. Juli 2011
Von Bira
Format:Taschenbuch
Auch ich habe natürlich beim Aufkleber "Life of Pi" sofort zugeschlagen - dieses Werk war einfach genial.

Mit Beatrice und Virgil betritt der Autor anderes Terrain in dem er eine Novelle verfasst, die durch die sehr präsenten Charaktere (wenn sie auch nur Figuren in einem Stück sind, dass eine der beiden Hauptfiguren verfasst) fast schon fabelähnlich ist.

Ich kann mich dabei meinem Vorrezensenten nicht anschließen - zumindest in meiner Ausgabe ist ein Vorwort enthalten, dass sich bereits auf die Beschäftigung mit dem Holocaust bezieht, daher war der Aha-Effekt gleich Null. Insgesamt ein mittelmäßiges Buch, dass ich nicht bereue gelesen zu haben, aber auch nicht weiterempfehlen werde.
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4.0 von 5 Sternen Ein literarischer Zirkelschluss... 22. Juli 2014
Von Felix Richter TOP 100 REZENSENT
Format:Taschenbuch|Verifizierter Kauf
...und zwar mit starker autobiographischer Note, das ist dieses Buch, das seine eigene Entstehung thematisiert und das sich auf ungewöhnliche Weise den Schrecken des Holocausts nähert.

Henri, Yann Martels Alter Ego, hat fünf Jahre nach einem Welterfolg (nicht namentlich genannt, aber unschwer zu erahnen: "Life of Pi") zwei Bücher in einem geschrieben, die beide den Holocaust zum Thema haben: einen Roman und einen literaturkritischen Essay, die so zusammengebunden sein sollen, dass das Buch von der Vorder- und Rückseite aus zu lesen ist und sich die Teile in der Mitte treffen.

Er erleidet dann aber das Trauma seines Berufslebens, als ihm Thema und vor allem Konzept im Rahmen eines Abendessens von der geballten Macht seiner Verleger, eines Buchhändlers und eines Historikers vernichtend um die Ohren geschlagen werden. Er hängt die Schriftstellerei an den Nagel, zieht in eine europäische Metropole und widmet sich seinen Hobbys, seinem Hund Erasmus und der Beantwortung der nach wie vor eintrudelnden Fanpost der Leser seines Erfolgsromans. Deren einer bittet ihn um Hilfe bei einem eigenen Werk, und der Zufall will es, dass dieser, ein alter Tierpräparator, in der selben Stadt wohnt und seine Werkstatt im Rahmen eines Gassigangs mit Erasmus gut zu erreichen ist. Bei diesem Werk handelt es sich um ein allegorisches Stück mit zwei animalischen Protagonisten, Beatrice und Virgil, Eselin die eine, Brüllaffe der andere, und der Ort der Handlung, den die beiden mehr oder weniger ziellos durchwandern, ist, man lese und staune, ein gestreiftes Hemd im KZ-Design. Hm.
Lesen Sie weiter... ›
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5.0 von 5 Sternen Holocaust in a suitcase 15. März 2010
Von Susan Tunis - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Vine Kundenrezension eines kostenfreien Produkts (Was ist das?)
Coming in to this slight novel--barely more than a novella--all I knew was that it was Yann Martel's "Holocaust allegory," and that it had animal characters. Those animals are the eponymous Beatrice (a donkey) and Virgil (a howler monkey) but they're actually characters in a play within the novel. Let me back up...

The central character of Beatrice and Virgil is a novelist named Henry. Henry has written a very successful book that featured animals as characters. Henry's career, in short, is remarkably similar to that of Yann Martel. The beginning of the novel describes his travails while attempting to publish a follow up to his very successful book. Henry, who is not Jewish, wants to write about the Holocaust. He has noticed that almost all Holocaust fiction is in the style of historical realism. Henry believes there are other ways to have this dialogue, to tell this story. "Other events in history, including horrifying ones, had been treated by artists. To take just three well-known instances of artful witness: Orwell with Animal Farm, Camus with The Plague, Picasso with Guernica. In each case, the artist had taken a vast, sprawling tragedy, had found its heart and had represented it in a non-literal and compact way. The unwieldy encumbrance of history was packed into a suitcase. Art as suitcase, light, portable and essential--was such a treatment not possible, indeed, was it not necessary, with the greatest tragedy of Europe's Jews?"

It is this that Henry attempts, but fails, to write. Despite his exalted stature, he is told repeatedly that his book is unpublishable. At this point, sick of publishing and completely blocked, Henry decides to pursue other interests. He and his wife move to an unnamed major city in another county. He takes music lessons, acts in plays, and even waits on customers in a chocolatería. He's happy. And it's a pleasure to read about Henry. Sure, he's rich, talented, and free, but at heart he's an everyman and so darn likable.

Eventually, a series of events leads Henry to an acquaintance with a taxidermist, also coincidentally (?) named Henry. In most ways Henry the taxidermist is completely unlike Henry the novelist. He's older, dour, and very, very serious. But he, too, is a frustrated writer. He has been struggling for years on a play about Beatrice and Virgil. The characters are real in his mind, as they are literally two stuffed animals in his shop. Gradually Henry the novelist begins collaborating on the play, and sections of the play's text make up large portions of the novel. And the text is... well, I swear it sounds like Samuel Beckett wrote it. Beatrice and Virgil may as well have been renamed Vladimir and Estragon. Truly, if you have any appreciation of that sort of thing, it's an absolute joy to read.

And that's the thing: This light, short novel is a compelling and deceptively simple read. Other than novelist Henry's unpublished work, there's no further talk of the Holocaust until more than halfway through the novel. There's something going on a bit under the surface, but you can't really put your finger on it. And then novelist Henry says to his wife, "It's all quite fanciful, yet there are elements that remind me, well, that remind me of the Holocaust." She accuses him of seeing the Holocaust everywhere, and that's that. Mr. Martel's fanciful story of the novelist and the taxidermist and the donkey and the monkey continues. And slowly, gently, the real story being told becomes more and more self-evident. By the time I reached the end, I was well and truly chilled, with goosebumps breaking out all over.

Where the fictional Henry failed, Yann Martel has succeeded. It's a stealth allegory, and as I stated earlier, it's deceptively simple. Deceptive, because there's actually SO much going on in this little novel. There are cultural, literary, historic, and religious references. I was actually busy googling things as I read and there was much food for thought. It seems almost ridiculous to say this about another Yann Martel novel, but you want to read this with a friend or a book group. By the time you're done, there is so much you'll want to talk through and discuss. Highly, highly, highly recommended!
128 von 152 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Not Worth the Emotional Toll 20. April 2010
Von B. Case - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Vine Kundenrezension eines kostenfreien Produkts (Was ist das?)
Every time I interact with a work of art that deals with the Holocaust -- be it a film, documentary, novel, painting, photomontage -- I am left traumatized, exhausted, and drained of emotion. Sometimes it takes me days to recover. When faced with yet another major artistic work on the Holocaust, I always pause and ask myself if I want to go through that emotional rollercoaster again. Will this work of art help me better understand? Will it bring me closer to the truth? Is this new work of art worth the pain?

Unfortunately, Yann Martel's new Holocaust novel, "Beatrice and Virgil," is not worth it.

In many ways it is an arresting work that pulled me inside and kept me compulsively reading. It beguiled. It charmed. It triggered an abundance of tantalizing intellectual associations. But, it is a very odd book: an absurdist allegorical play with animal characters, contained within a thinly disguised memoir, enveloped within an odd fictional mystery, and the whole work is interlaced with fascinating, obtuse, intellectual essays. The writing is at times utterly mesmerizing and brilliant; at other times, it is downright boring. Again and again, the book begs the reader to discover where this is all leading. And then finally, in the last 30 pages or so, the reader is hit over the head with an emotional sledgehammer so effectively that the pain of this Holocaust encounter put me in a state of shock. Frankly, I felt manipulated and conned.

So, if this appeals to you, go ahead and read it. For those that loved "Life of Pi," this is nothing like that book. The novel is odd and wonderful, but it also misses the mark. I will not recommend it to my friends, and it is not a work that I would enjoy discussing with a book club.
33 von 37 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Could be more than five, or fewer 11. April 2010
Von Thomas F. Dillingham - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe|Vine Kundenrezension eines kostenfreien Produkts (Was ist das?)
Yann Martel's new novel deserves much more thorough and lengthy discussion than is possible in a brief Amazon review. The complexity and high ambition of the novel are impressive, almost overwhelming. At the same time, its flaws must be recognized, and the serious questions it raises (but may not confront satisfactorily) must be acknowledged.

Martel here attempts a direct challenge to the famous remark by Theodor Adorno (to paraphrase--after Auschwitz, poetry is no longer possible) by writing a work of fiction about the Holocaust, even though the author is not himself a Holocaust survivor. I had a colleague who taught "literature of the Holocaust," but always refused to include any fictional narratives--only factual, truthful, survivors' narratives were allowed in his course. He felt the reality of the Holocaust was such that no fiction could convey it and no writer of fiction had the moral right to attempt it. Martel does not so much contradict that view as explore its implications in the intricate self-reflexive novel he has created. His narrator, Henry, has written a novel the characters of which are animals--a work received favorably enough to make him financially secure--but he is "blocked" since his more recent effort--a novel about the Holocaust that he wants to be published in tandem with an essay on the subject. His editors have concluded that the work is umpublishable because it would never sell--people would not understand what it was.

This Henry receives a manuscript from another Henry, a mysterious man who makes his living as a taxidermist and has written a play--Beatrice and Virgil--in which two animal characters, a howler monkey and a donkey, contemplate the fate of life on earth following some (at first) unexplained calamity. Excerpts from the play appear at intervals throughout the novel, not in the actual order they would appear in the play, but as the taxidermist chooses to offer them; as a result, we gradually learn the nature of the story of Beatrice and Virgil, but not in chronological order. The taxidermist has also provided (perhaps as a kind of predecessor work) a copy of Flaubert's "Julien l'Hopitalier." When Henry the first author visits the taxidermist, a series of encounters and disturbing revelations ensue, all forcing Henry to confront and attempt to understand his relationship to this play--which reads very much like one of Samuel Beckett's major works--Endgame, most obviously, and Waiting for Godot, as well, as played by, however, two quite innocent animals. At the same time, Henry the author is rehearsing his role in the classic play, Nathan the Wise.

As is obvious, this is a novel rich in allusions and connections with other works of literature. It becomes increasingly clear that the taxidermist is also, symbolically, confronting the facts of the Holocaust through his beautiful and deeply sad, emotionally wrenching, portrayal of the two animals confronting their loneliness, isolation, rejection, mortality.

I can imagine some negative responses to this work--some who might find it too precious, too "intellectual," and especially in its final pages, perhaps too manipulative. The questions about its effectiveness are legitimate--I felt for a while at the end that I was unsatisfied, disappointed that it had not been more carefully and fully developed through its final pages. But I also felt that my disappointment was partly that I was wishing it were still going on.

I don't want to provide any further details about the ways the story unfolds. I would want to encourage readers to encounter it on their own. Its richness and fascination will certainly carry any reader along, and I feel that most readers will find themselves both moved and stirred up by the implications, the challenging questions, of this intense and beautiful work.
24 von 27 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen Unspeakably, bafflingly poor 27. Juli 2011
Von Ralph Moore - Veröffentlicht auf Amazon.com
Format:Taschenbuch
I rarely review books, confining myself to classical music but as soon as I'd finished this I felt compelled to register my vote. Like many a previous reader and reviewer, the only reason I a) bought this book, b) persevered with reading it was because I had read, taught, studied and admired "Life of Pi". I have never encountered such a dour, pointless, tedious farrago of nonsensical ideas in my life; the novel is all the more incomprehensible for being written by such a talented author. A previous reviewer has it right by characterising the book as 95% boring and 5% shocking; the grinding, right-on relevance of the message is appreciable only "retrospectively" after you have been repulsed and shocked by the moments of graphic brutality, hideous cruelty and gratuitous violence. Yes; of course I know that is what typified the Holocaust and that evil is inevitably banal compared with the transcendence of goodness - but the reiteration of wickedness and banality does not a work of art - or indeed a tolerable novel - make.

Even worse is the author's ultimate insistence on hitting you over the head with the "message". Rather than being content with providing an intelligent reader with subtle clues, towards the end Martel elaborates a literal, clodhopping explanation of how to decode the novel. We get it, OK? The earnestness with which he does so just about negates any appreciation I might have had for his craft.

Certain critics and pseuds are falling over themselves to hail this as a profound masterpiece; I can only suggest that you obtain a copy - for heaven's sake don't waste money on it as I did - and read for yourself if you suspect me of poor judgement, prejudice or ignorance. I assure you I wanted to like the book, having been so impressed by "Pi". Try, by all means - but don't say I didn't warn you.
19 von 22 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen This book is an abortion. 3. Juni 2010
Von Margaret Shore - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
My opinion has been expressed by the many negative reviews. Firstly, Life of Pi was one of my all time favorite books and I was beyond thrilled to read his next work. I heard Martel interviewed by the deranged genius Michael Silverblatt at a book festival and Martel's comments about the book's intentions were thrilling. How does one talk about the Holocaust? Make sense of it? Then I read the book. I could write pages about how much this book hurt. How it seared images into my brain that I don't want there. And how there was no compensation with literary merit...intriguing characters, dialog, images, resolution. As I try to think of a comparison, all that comes to mind are the later novels of Tom Wolfe that are bereft of sympathetic characters. But Wolfe is so funny and true and his characters read more like caricatures so of course they have no redeeming qualities. But reading Virgil and Beatrice was like placing my hand on a hot stove for no good reason whatsoever. I'm left unamused and unenlightened. Just burned.
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