- Taschenbuch: 144 Seiten
- Verlag: Harper Perennial; Auflage: Perennial. (4. Januar 2005)
- Sprache: Englisch
- ISBN-10: 0060575565
- ISBN-13: 978-0060575564
- Größe und/oder Gewicht: 20,4 x 13,6 x 0,9 cm
- Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 1.391.964 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Buying a Fishing Rod for My Grandfather: Stories
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Produktbeschreibungen
From Booklist
Gao Xingjian, winner of the 2000 Nobel Prize for literature, is a sensitive, microscopically observant writer. Though few in number, the stories in this collection are richly diverse. One is a bittersweet reflection of a newlywed on his honeymoon; another a Pinteresque dialogue in a park; a third a traffic accident recounted in real-time with all its voyeuristic detail and authentic philosophical questioning, and still another, a strong memory-driven, first-person tale that follows the mental trail of a man who passes a fishing equipment shop and begins to remember his grandfather. For variety of content, stylistic experimentation, graceful language, and poignant insight, Xingjian is a writer who does it all beautifully. Janet St. John
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pressestimmen
“For all their elusiveness, these impressionistic sketches have an austere power” (New York Times Book Review )
“Dreamlike … the force of Gao’s imagination is spellbinding.” (San Jose Mercury News )
“[Gao’s] narrators walk as if in a dream through a private landscape of memory and sensation.” (Boston Globe )
“Beautiful.” (Village Voice )
“Precisely detailed and delicately suggestive: the best work of Gao’s yet to appear in English translation.” (Kirkus Reviews )
“These spare, evocative pieces … offer a sample of Nobel -winner Gao’s sharp, poetic early work.” (Publishers Weekly )
“Dreamlike … the force of Gao’s imagination is spellbinding.” (San Jose Mercury News )
“[Gao’s] narrators walk as if in a dream through a private landscape of memory and sensation.” (Boston Globe )
“Beautiful.” (Village Voice )
“Precisely detailed and delicately suggestive: the best work of Gao’s yet to appear in English translation.” (Kirkus Reviews )
“These spare, evocative pieces … offer a sample of Nobel -winner Gao’s sharp, poetic early work.” (Publishers Weekly )
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Einleitungssatz
We were deliriously happy: delirious with the hope, infatuation, tenderness, and warmth that go with a honeymoon. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Rückseite
We were deliriously happy: delirious with the hope, infatuation, tenderness, and warmth that go with a honeymoon. Lesen Sie die erste Seite
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format:Gebundene Ausgabe
Gao Xingjian uses small events occurring in daily life such as the visit of a decaying temple by a young couple, a road accident involving a father and a his young child, a swimmer suffering from a sudden pain or conversation in a park to deal with topics which he cherishes: the lost innocence of youth, the quest for an environment ruined by modern architecture or the nostalgia for a lost tenderness that only a father or grandfather could provide. Often there is no plot in those short stories, but a simple succession of images, impressions, dreams and thoughts. An author well worth discovering.
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Six Prose Paintings
6. Juni 2004
Format:Gebundene Ausgabe
Reading the six short stories in Gao Xing Jian's BUYING A FISHING ROD FOR MY GRANDFATHER is like wandering into a small gallery containing six Impressionist paintings. Each story paints a quiet verbal picture of loss and gain, of change, of solitary existence and the consolations of love and family. Gao's works seem nearly plotless, vignettes which create scenes and atmosphere more than story lines. Then again, life consists of such brief moments and experiences; stories are the fictions we create to connect and give personal meaning to these separate moments.
Gao's technique varies from story to story. His opening work, "The Temple," describes the spontaneous actions of a honeymooning couple as they disembark from a train to explore a decaying hillside temple. The story, written in standard prose form, speaks achingly of history and loss, of life moving forward in spite of past tragedies. The second story, "In the Park," switches almost completely to dialog between two nameless acquaintances who meet by coincidence in a park and reclaim their childhood memories as another young woman sits crying on a nearby park bench.
The third story, "The Cramp," gives a harrowing account of a casual swimmer who nearly dies alone within sight of the shore, only to discover when he makes it ashore that no one has noticed. The next story, "The Accident," tells nearly the same story in a moment by moment account of a fatal traffic accident on a Beijing street. The police arrive and take care of the situation, street cleaners come to remove the broken bicycle and wipe the blood from the streets, and life continues on anonymously, as if the death never occurred.
The title story follows, offering a powerful account of a neighborhood no longer recognizable to its main character who had lived there as a boy. The story conveys a sense of loss and disorienting change, of a simple way of life no longer to be found.
The stories in this collection were written between 1983 and 1990, about the same time Gao was completing his novel SOUL MOUNTAIN. The writing is simple and direct, yet it creates memorable images and a strong sense of atmosphere. Despite being written by China's first Nobelist in Literature, these are not stories about China or Chinese culture. Several of these stories offer no sense of place or culture - they could be taking place anywhere in the world. Perhaps this is a reflection of Gao's status as an expatriate in Paris.
For those who enjoy modern Chinese and Chinese-American literature by the likes of Mo Yan, Su Tong, Ha Jin, and Liu Heng, Gao Xing Jian's BUYING A FISHING ROD FOR MY GRANDFATHER stands out for its daring style and its sublimation of Chinese culture to more universal settings and themes. In that respect, Gao is stylistically closer to Japanese writers like Kenzaburo Oe and Haruki Murakami than any Chinese writer I have yet encountered. Anyone who reads this book will likely be motivated to pick up a copy of SOUL MOUNTAIN or ONE MAN'S BIBLE.
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Crisp short stories
11. Mai 2004
Format:Gebundene Ausgabe
Gao Xingjian uses small events occurring in daily life such as the visit of a decaying temple by a young couple, a road accident involving a father and a his young child, a swimmer suffering from a sudden pain or conversation in a park to deal with topics which he cherishes: the lost innocence of youth, the quest for an environment ruined by modern architecture or the nostalgia for a lost tenderness that only a father or grandfather could provide. Often there is no plot in those short stories, but a simple succession of images, impressions, dreams and thoughts. An author well worth discovering.
1 von 1 Kunden fanden die folgende Rezension hilfreich
I Don't Think I'm the Target Audience
25. September 2011
I'm not usually a fan of short stories and this collection of translated stories by the Nobel Prize winning author Gao Xingjian reminded me of why that is.
The thing is, I just don't get drawn into short story collections. As soon as I start to get interested, it ends and I'm left trying to get to know a whole new set of characters or to care about an entirely new set of circumstances.
Those issues in this book were only exacerbated, for one main reason.
These stories, by design, are not plot driven in the slightest. In fact, an afterword contains the following information :
"Gao warns readers that his fiction does not set out to tell a story. There is no plot, as found in most fiction, and anything of interest to be found in it is inherent in the language itself."
As a reader who is more interested in the way a story is told than the actual story, this isn't necessarily a problem.
But. It was translated! If the whole point of the work is the use of language, and I can't see that language in the way the author intended, what's the point? I simply don't understand why you'd translate a work that was completely about the writing and not the plot.
That said, a few of the stories were interesting. In the Park in particular struck me. It was the story of a couple spending a lazy day together. Nothing exciting happened, there was no passion, no twists. But it sort of gave you a glimpse into these people's lives in a way that felt very intimate and beautiful.
Overall though, I can't say that I'd recommend it, considering that I'm not really reading Xingjian's work, but that of his translator.
The thing is, I just don't get drawn into short story collections. As soon as I start to get interested, it ends and I'm left trying to get to know a whole new set of characters or to care about an entirely new set of circumstances.
Those issues in this book were only exacerbated, for one main reason.
These stories, by design, are not plot driven in the slightest. In fact, an afterword contains the following information :
"Gao warns readers that his fiction does not set out to tell a story. There is no plot, as found in most fiction, and anything of interest to be found in it is inherent in the language itself."
As a reader who is more interested in the way a story is told than the actual story, this isn't necessarily a problem.
But. It was translated! If the whole point of the work is the use of language, and I can't see that language in the way the author intended, what's the point? I simply don't understand why you'd translate a work that was completely about the writing and not the plot.
That said, a few of the stories were interesting. In the Park in particular struck me. It was the story of a couple spending a lazy day together. Nothing exciting happened, there was no passion, no twists. But it sort of gave you a glimpse into these people's lives in a way that felt very intimate and beautiful.
Overall though, I can't say that I'd recommend it, considering that I'm not really reading Xingjian's work, but that of his translator.
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