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Canal Dreams (English Edition) [Kindle Edition]

Iain Banks
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Produktbeschreibungen

Pressestimmen

* 'Apocalyptic is the first word that springs to mind to describe this violent and powerful novel in which Banks once again demonstrates his extraordinary dark powers of imagination...impressive' - THE TIMES

Kurzbeschreibung

Hisako Onoda, world famous cellist, refuses to fly. And so she travels to Europe as a passenger on a tanker bound through the Panama Canal. But Panama is a country whose politics are as volatile as the local freedom fighters. When Hisako's ship is captured, it is not long before the atmosphere is as flammable as an oxy-acetylene torch, and the tension as sharp as the spike on her cello...



CANAL DREAMS is a novel of deceptive simplicity and dark, original power: stark psychological insights mesh with vividly realised scenarios in an ominous projection of global realpolitik. The result is yet another major landmark in the quite remarkable career of an outstanding modern novelist.


Produktinformation

  • Format: Kindle Edition
  • Dateigröße: 924 KB
  • Seitenzahl der Print-Ausgabe: 292 Seiten
  • ISBN-Quelle für Seitenzahl: 034910171X
  • Verlag: Abacus; Auflage: 1st (4. September 2008)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B002TXZRD6
  • Text-to-Speech (Vorlesemodus): Nicht aktiviert
  • X-Ray:
  • Word Wise: Nicht aktiviert
  • Durchschnittliche Kundenbewertung: 2.0 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: #527.335 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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2.0 von 5 Sternen
2.0 von 5 Sternen
Die hilfreichsten Kundenrezensionen
3.0 von 5 Sternen Traumbilder 20. August 2007
Von Abby Normal TOP 500 REZENSENT
Format:Taschenbuch|Verifizierter Kauf
Dass Iain Banks die Sprache beherrscht wie kaum ein zweiter, hat er schon viele Male gezeigt. Auch in Canal Dreams stellt er in dieser Hinsicht sein begnadetes Talent unter Beweis. Die Sätze klingen fast wie Musik. Sie sind präzise und versetzen den Leser in die Welt des Buches.

Nur passt bei Canal Dreams etwas anderes Fundameltales nicht richtig zusammen. Der Roman besteht sozusagen aus drei Ebenen: Der eigentlichen Geschichte, der Vorgeschichte der Heldin und ihren Träumen. Wie schon öfter in seinen Büchern wechselt Iain Banks zwischen diesen Ebenen hin und her, ohne diese Wechsel groß anzukündigen. Und so muss man hin und wieder etwas überlegen, wo er sich gerade befindet.

Aber das ist nicht das entscheidende Problem. Es geht vielmehr darum, dass die Vorgeschichte kaum etwas zur aktuellen Geschichte beiträgt. Wir lernen zwar die Heldin besser kennen. Die Vorgeschichte zeigt ihre Einstellungen, Ängste, Stärken und Schwächen, doch diese spielen in der eigentlichen Geschichte kaum eine Rolle. Es hat so fast den Anschein, als diene die ausgiebige Vorgeschichte nur dazu, die eigentliche, zu kurz geratene Geschichte zu strecken. Die zahlreichen Träume sind gar fast überflüssig. Zudem konnte ich mit ihnen praktisch gar nichts anfangen.

Die eigentliche Geschichte ist gut und recht. Doch etwas fehlt. Sie ist zu geradlinig und bietet kaum Überraschungen. Iain Banks vermag es zwar dennoch Spannung aufzubauen, doch an seine anderen Bücher kommt Canal Dreams lange nicht heran. Wie in "A Song Of Stone" kann ich mit dem Thema in Canal Dreams auch nicht viel anfangen. Am Ende hat es dann fast den Anschein, als habe er zu viele Actionfilme geguckt.
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2 von 3 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen 280 Seiten Alptraum 29. Januar 2006
Format:Taschenbuch
Ich kannte bisher nur das Buch Dead Air von Iain Banks und es zählt zu einem meiner absoluten Favoriten. Doch meine Lust weitere Bücher von Banks zu lesen ist mir nach der Lektüre von Canal Dreams vorerst vergangen. Die Lektüre hat mich verärgert zurückgelassen. Welchem kranken Hirn ist diese Geschichte entsprungen? Die konservative Erzählweise passt überhaupt nicht zu der Anhäufung brutaler Szenen, Reminiszenzen und Träumen. Traumschilderungen sind so angelegt, daß man als Leser erst nach mehreren Sätzen versteht dass nun ein Traum geschildert wird. Teilweise habe ich die Zusammenhänge garnicht verstanden, so konfus schildert Banks die Situation in Panama. Die letzten 50/60 Seiten sind dann ein einziges blutrünstiges Dahingemetzel wie im schlimmsten Billigthrillerfilm aus China. Interessant fand ich noch die eingeschobenen Passagen über das Leben in japan und die Entwicklung der Cellistin. Aber dies wiegt in keinem Fall den Rest des Buches positiv auf. Und wer denkt sich denn schon aus, ein Stradivari Cello von irgendwelchen minderbemittelten Revolutionären die von der CIA geleitet werden, in einem Beiboot massakrieren zu lassen?
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2 von 3 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Eine überflüssige Erzählung 27. Oktober 2001
Format:Taschenbuch
Eine japanische Cellistin, wegen Flugangst mit dem Schiff nach Europa unterwegs, gerät, im Panamakanal steckend, in militärisch/terroristische Aktionén mit jeder Menge Action, vor allem auf diversen Schiffen. Es bleibt rätselhaft, ob Banks sich hier an einer Art Thriller versuchen wollte (und scheitert) oder einen Horrorroman schreiben wollte (die blutigen Details sprächen dafür) - die Handlung ist dermaßen überzeichnet und streckenweise absurd, daß manche seiner Science Fiction Stories dagegen richtig bodenständig wirken. Das Wort Roman ist für diesen Band ohnehin überzogen, denn eine Entwicklung findet kaum statt, die eingeschobenen Passagen aus der Kindheit der Heldin bleiben abgehoben wie Traumbilder und nehmen keinen echten Bezug zur Handlung auf. Bei weitem nicht sein bestes Werk.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 3.1 von 5 Sternen  19 Rezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A fragile heroine pitted against the worst of man's evils 15. Juli 2014
Von Sally Ann Melia - Veröffentlicht auf Amazon.com
Format:Kindle Edition
I have read all of Iain Banks Books, and unusually perhaps this one I have always enjoyed.

Canal Dreams tells the story of Hisako Onoda a Japanese Cello super star prodigy who when invited to play the major capitals of Europe refuses to fly, and instead chooses to take a ship from Japan. She travels as a passenger aboard across the Pacific, through the Panama canal then to the Atlantic and Europe. In the early chapters there is some mention of guerilla in Costa Rica, but this in no way prepares us for what comes next.

As she enters Panama the country is already descending into war, but caught in her world of music and plans for Europe Hisako is barely aware of this, and sleepwalks onwards despite entreaties to leave the ship and take the plane. So Hisako is still on board when the oil tanker Nakado when trapped with two other ships in the Panama Canal, becomes the subject of an attack.

I won't say more about the story, just to say this is the opening, and the tale itself is one of human frailties vis human cruelties. the female character Hisako, as with all of Iain Banks female protagonist is carefully drawn and immediately compelling. the action is as cruel and relentless as any terrorist film.

With flashbacks to Hisoka's youth in Japan and a detailed knowledge of the engineering and layout of a super tanker, this book offers both exotic locals and interesting technological details.

There is an interesting thought running through this book as well. This fictional conflict in Panama is drawn as one of many global mini-flashbacks, and you get the feeling that while the protagonists suffer and die, the rest of the world is watching football or tennis. In essence the ROW lives on in blissful wilful ignorance.
1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Real-life horror 29. August 2002
Von Glen Engel Cox - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Banks' first novel, The Wasp Factory, was a surprise within a surprise--a well-written horror novel that was also a well-written "mainstream" novel. Since then, Banks has continued to surprise mainstream readers with surrealistic novels like Walking on Glass and The Bridge, as well as surprising science fiction readers with intelligent space opera like Consider Phelbas and The Player of Games (Banks' space opera compares favorably with Hyperion by Dan Simmons).
In Canal Dreams, Banks revisits the type of realistic horror found in The Wasp Factory. Hisako Onada is a Japanese cellist who refuses to fly, yet wishes to tour Europe. Her agent books her passage on a Japanese freighter, and she gets caught up in a revolution when her ship becomes trapped in the Panama Canal. That's one part of the story. Another story line explores Hisako's background, from the sacrifices that her mother makes early on as she makes it clear that she wishes to play the cello, through the very rigorous Japanese education process, to joining a major Japanese orchestra. The background serves as an important counterpoint to the other storyline, explaining that her refusal to fly is based on a true phobia. Banks is pointing out that phobias are irrational fears, that have no bearing on the bravery or bearing of the person. When the realtime storyline turns wicked, one isn't surprised at Hisako's actions or her ability to weather hardship.
Banks' horror is like Stephen King's Firestarter without the pyrokinetic, or Thomas Harris' Silence of the Lambs without the psychopaths. Canal Dreams is a novel about the kind of horror seen all too frequently in the news, and occurs even more frequently in the real world. And that is true horror.
1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Short, sharp, shocking Banks 4. Juni 2004
Von B. Caesar - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Although this is one of his weakest works, it's still Banks. And he really is a good writer.
Notably, there's plenty of reference in the novel to Japan. From my experience of having lived in Japan for some time, learning the language, culture and way of thinking, I notice that sometimes Banks is a little Orientalist in his references to Japanese culture. There are plenty of exotic cultural and by-the-numbers historical references to, for example sumo, samurai, the atomic bombings, student riots of the 60s and some textbook Japanese psychology. However, this seems to me to be like a garnish added to make it more believable to people who know little about Japan. Like another reviewer pointed out, it's like Banks wants to show his knowledge to the reader, but the effect is that the work has been written by Banks without having in-depth experience of the country and people and results in a gentle stereotyping.
However, Banks is an intelligent, reflective and enjoyable writer and I did enjoy the book. It's true that some of the characterisations are rather undeveloped but that doesn't necessarily make it a bad book. In particular, the unusual pacing is such that the narrative lulls for a while, relaxing, and then suddenly surges to an explosive but emotionally-stunted conclusion.
Banks is a writer that doesn't seem to tread old ground, creating surprising and thought-provoking fiction. I reckon that for those who like Banks work, it'll be 50-50 for whether you enjoy this or not, but I do recommend you try it.
2.0 von 5 Sternen Canal Dreams 21. September 2008
Von D Brookes - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Iain Banks' mainstream work usually hinges on some aspect of unreality - psychosis, pseudo-history, the subconscious - and this one apparently centres on dreams, hense the title. You can read about the story and main character elsewhere, but nobody seems to have touched upon the apparent irrelevancy of the dreams, other than to highten the tension that Banks strives (and ultimately fails) to set up during this Panama-based tale of hostage situation. Most writers agree that dream sequences add little to literature, and this is the case with "Canal Dreams"; they seem to be present only to fill out this otherwise very short novel. They reveal nothing about the character, little about her present state of mind and don't advance the story by even a fraction.

The character development is unusually poor for Banks, who in every other novel seems to perform marvelously in this respect. The main character begins to be defined by her directionless childhood and the beginning of her adult like through her skills as a cellist. Then the last 100 pages suddenly reveal extreme and unlikely tragedies in her personal life, one after the other, that are almost totally unseeded during the early chapters of the novel.

It seems that as Banks' thriller turns into a slightly ridiculous action novel, he feels he has to justify his character's extreme actions by constructing a more and more sympathetic history for her. He fails in this respect too - you wonder if her implausible past is another of her dreams. But no. As if the trials during her period of capture by what at first appear to be Panamanian terrorists weren't enough.

The remaining characters are quite poorly drawn, and it hurts me to say it. It's disappointing, as a huge fan of Banks, to be merely distracted rather than wowed by one of his novels. His characters seem only to be defined by their nationality: Japanese, South American, North American, French. They wind up feeling flat, much like the characters in his more recent mainstream novel "Dead Air".

It's a fine read if you have a few long train journeys in your schedule, and its shortness is here a blessing as it means the disappointment is more minor for it. It's beautifully written and there are some imaginative and insightful descriptions, both of the main character in particular and of events as they occur. Otherwise it's unusually forgettable for one of Banks', nowhere near the standard of "The Wasp Factory", "The Crow Road" or "Whit".

5 / 10
3.0 von 5 Sternen Ably realised genre hybrid, but I admired this book more than I enjoyed it 22. Juni 2007
Von Trevor Kettlewell - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
Spoiler city: you have been warned.

Banks has pretty much got it all: he can do full-tilt action; he can create authentic characters a mile from stereotype; he can incorporate intelligent themes; he can shock; he can amuse; he can work to a clever structure. Oh, and he can write: his style is enviable. The question (with rare exceptions) isn't whether he can do it, it's what is he going do.

I wonder if this book was a response to all the stupid thrillers out there. Banks saying, sure, you can have the fun of a wronged lone figure taking brutal vengeance on some vile baddies, but you don't have to endure cardboard stereotypes and utterly predictable scenarios. Here he demonstrates this - and how.

For the first third of the book (even more given the constant flashbacks that often dominate the narration) you feel like you're in a slow moving bit of a chick novel (`not that there's anything wrong with that'). I don't know, something like Anne Tyler or Penelope Lively, where the focus is far more on character than action. Hisako is still one of Iain Banks' characters, and he doesn't tend to bother with everyman types, so she is a world famous cellist. But the stellar career is more a backdrop for piece by piece revelations about her life. Panama itself, we think, is also essentially a background: the political events of interest primarily in the way that they give Hisako an unexpected oasis of time (in an exotic location and with a new love interest) to pause and meditate. We learn a lot about Hisako. She's neither idealised nor demonised. Admittedly the other characters are fairly sketchy, and the relationships pretty shallow, but in one way that suits Hisako's perspective: she is fairly detached and introspective/selfish. She's just getting through her life with a mix of being active and passive. Like I said, a bit of a chick thing - ably done.

But then, in as much time as it would take `real' people's normal lives to be shattered by war, we find ourselves in an action novel. But the catch is we know the players a bit too well to `enjoy' it. The baddies are no worse or better than the usual, but far more chilling and nauseating because this doesn't feel like a pantomime (cf. Tom Clancy). Banks' books have some recurring ideas: one is the interaction between wealthy and impoverished cultures; another is warfare atrocities. I wasn't really expecting the latter to pop up again in this book. Thematically it is powerful, and perhaps redressing another misconception resulting from ubiquitous airport thrillers: in giving us wafer thin nasties to defeat, somehow evil people aren't quite real. In uniting a developed character with the sort of appalling abuse common in conflict, Banks makes it far more uncomfortable for the reader to keep the fiction at arms length.

What about the die-hard last few chapters? Does he get away with that? If he was writing this purely as an action sequence, sure. But does it undermine all the authenticity of the previous characterisation and setting? It is absurd for this cellist to become Schwarzenegger, much as it's gratifying for the reader to have her mete out some justice. Although he has gone to the trouble of giving her a plausible martial arts background and level of physical fitness (I don't quite know when she became so familiar with firearms though). I suppose it is a dream, but a site more powerful one than a stack of other thrillers. Also, perhaps, a dream of Banks to unite a meditative novel with an action movie.

But I suspect I enjoyed this book more in hindsight than in the reading. I like the idea of subverting the wildly common thriller format by centring it around the sort of nuanced character you expect in a `realistic' novel. Similarly I acknowledge the cleverness and self-control of his `Inversions', but, to brashly quote my own review of that book: "...I wonder if some of the pleasures for the reader have been sacrificed to Banks' ingenious if perhaps less satisfying structure..." The idea is nice, but is there a good reason these two genres are generally kept separate?

As a novel, Hisako's pre-Bruce Willis story is intellectually interesting but rarely engaging: we have a summaries of events rather than strong evocation (with some exceptions). There is a dreamlike quality to a lot of her story (as well as bona-fide dreams), and we might be surprised but are not really touched by her interactions. Few of us could empathise with her prodigy life, but the way it's told neither is there (consciously) the (hackneyed but evergreen) pleasure of a rags to riches climb.

As a thriller, well, Banks probably lost Forsyth and Follett readers before the action even starts. Even a card-carrying fan like myself found the constant time shifting irritating and forced after a while - but once Banks has decided on a structure, he won't budge. This is probably a strength and a weakness. On the one hand he undermines the thriller style with the realistic blithe massacre: in this situation people - even young Americans! - are powerless. But then he throws that realism out the window with Hisako's Hollywood vengeance.

So I don't think he's pulled off a satisfying thriller with bonus authentic characters, despite Hisako's authenticity and a tight, brutal conclusion that is as well done as any action scenes I've read. I respect the idea, I acknowledge his success in realising it, but I admire this book more than I enjoyed it.
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