- Audio CD
- Verlag: Recorded Books (Februar 2004)
- Sprache: Englisch
- ISBN-10: 1402573685
- ISBN-13: 978-1402573682
- Größe und/oder Gewicht: 15,8 x 13,4 x 3,2 cm
- Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 1.920.951 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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The Confessions of Max Tivoli: A Novel
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Produktbeschreibungen
Amazon.co.uk
Out of the womb in 1871, Max Tivoli looked to all the world like a tiny 70-year-old man. But inside the aged body was an infant. Victim of a rare disease, Max grows physically younger as his mind matures. In Andrew Sean Greer's finely crafted novel, The Confessions of Max Tivoli, Max narrates his life story from the vantage point of his late fifties, though his body is that of a 12-year-old boy. He has known since a young age that he is destined to die at 70, and he wears a golden "1941" as a constant reminder of the year he will finally perish in an infant form. His mother, a Carolina belle concerned over her son's troubling appearance, curses Max with "The Rule": "Be what they think you are". Max fails to keep this Rule only a handful of times in his life, but it is the burden of living by it that wounds him and slowly alienates him from the people he loves.
Over Max's narration of the preceding decades of his life, he offers outsider's snapshots of San Francisco and all of America across the late 19th and early 20th centuries. Throughout, Greer uses the literary device of reverse aging to interrogate the evolution of social conventions, the finitude of a human life and the decay of memory. Max wants love. But his curse destines him to deception. He loses his wife, Alice, changes his name and remains hidden from his own son to keep his true identity secret. Only his lifelong friend, Hughie, stands by Max and can see the person inside the anachronistic body. Like the best science fiction and myth, the novel uses its central conceit to reveal human prejudice and explode all assumptions of normalcy to profound effect.
Love is a destructive force in The Confessions of Max Tivoli. But Greer recognises that in the failure of love is also hope. He artfully captures Max's fragile world with a delicacy that never crosses into sentimentality but also avoids the monumental scale of tragedy. As Max says near the end of the novel, "It is a brave and stupid thing, a beautiful thing to waste ones life for love." A journey with Max, while brave and beautiful, is hardly a waste. --Patrick O'Kelley, Amazon.com -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch .
Amazon.com
Out of the womb in 1871, Max Tivoli looked to all the world like a tiny 70-year-old man. But inside the aged body was an infant. Victim of a rare disease, Max grows physically younger as his mind matures. In Andrew Sean Greer's finely crafted novel, The Confessions of Max Tivoli, Max narrates his life story from the vantage point of his late fifties, though his body is that of a 12-year-old boy. He has known since a young age that he is destined to die at 70, and he wears a golden "1941" as a constant reminder of the year he will finally perish in an infant form. His mother, a Carolina belle concerned over her son's troubling appearance, curses Max with "The Rule": "Be what they think you are." Max fails to keep this Rule only a handful of times in his life, but it is the burden of living by it that wounds him and slowly alienates him from the people he loves.
Over Max's narration of the preceding decades of his life, he offers outsider's snapshots of San Francisco and all of America across the late 19th and early 20th centuries. Throughout, Greer uses the literary device of reverse aging to interrogate the evolution of social conventions, the finitude of a human life, and the decay of memory. Max wants love. But his curse destines him to deception. He loses his wife, Alice, changes his name, and remains hidden from his own son to keep his true identity secret. Only his lifelong friend, Hughie, stands by Max and can see the person inside the anachronistic body. Like the best science fiction and myth, the novel uses its central conceit to reveal human prejudice and explode all assumptions of normalcy to profound effect.
Love is a destructive force in The Confessions of Max Tivoli. But Greer recognizes that in the failure of love is also hope. He artfully captures Max's fragile world with a delicacy that never crosses into sentimentality but also avoids the monumental scale of tragedy. As Max says near the end of the novel, "It is a brave and stupid thing, a beautiful thing to waste ones life for love." A journey with Max, while brave and beautiful, is hardly a waste. --Patrick O'Kelley -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .
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Kundenrezensionen
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4 von 7 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
I loved the basic idea of a man aging backwards, meeting his big love three times without her being any the wiser. But it's undoubtedly a wordy book with an inclination to philosophy and moodiness. So be prepared for a rather depressing read, with an intriguing plot at its core.
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146 Rezensionen
40 von 46 Kunden fanden die folgende Rezension hilfreich
Breathtaking tale of a life lived backwards
11. März 2004
Format:Gebundene Ausgabe
Imagine being born an old man and growing physically younger. Imagine grappling with physical and chronological ages that are at odds with each other for all but a brief period in your middle age. Imagine falling in love and stopping at nothing to be near the one you love. Max Tivoli has had such a life. He is a protagonist like no other, and now he writes his confessions. No, not his memoirs... his confessions.
Max bares his soul, revealing the paradoxes, the ironies, and the cyclical patterns in his unique and tumultuous life. He documents his struggles against the currents of time, where he has had to keep reinventing himself as time moved inexorably forward for others. He laments the deceit and rejection he has had to practice to follow his mothers advice to "be what they think you are." He describes how his best friend, in stages, plays the role of his son, his brother, and his father. He memorializes a love that transcends drastically changing age differences.
Taking place in San Francisco around the turn of the twentieth century, when gaslights and carriages make way for electric lights and automobiles, the action centers on the three time periods in Max's life when his path crosses that of his love, Alice. In each of the three sections he reluctantly reveals, bit by bit, the surprising details that comprise the core of his life. His need for acceptance and love is portrayed in an entirely new and fresh way. The story evinces emotions that are powerfully heartrending. The writing is lyrical and full of imagery. This incredible novel will take your breath away, and I recommend it highly. If you only have the time to read one literary novel this season, make it this one.
Eileen Rieback
15 von 16 Kunden fanden die folgende Rezension hilfreich
A tragedy on many levels
14. April 2004
Format:Gebundene Ausgabe
About halfway through the book, I found myself thinking that the writing style and some elements of the plot reminded me of another book. When I looked at the other reviews on the jacket, I realized that it was Nabakov's Lolita.
The same hopeless thrill of a doomed love runs through this book. Max Tivoli knows from the start of his life as an old man that his is a curse he cannot overcome - much as he might try. His relationships with Alice, first as a father figure who is unable to control his desire for her young girl self, then as a jealous husband who rapes his wife on the eve of her desertion of him, and last as her adopted son who yearns to kiss her and sleep with her, fill one with pity and despair.
One of the greatest tragedies is that Max, and hence the reader, ends the book still not knowing exactly how Alice feels about the various incarnations of Max she has known. Did she learn to hate him as a girl, care for him as a husband, love him as a son? Obviously his feelings for her are always stronger than hers for him - but what are her feelings? So much of the book is devoted to Alice - but the reader is frustrated along with Max - just grasping at images of Alice instead of the whole person.
The writing is lyrical at times and the premise is very intriguing, but I found myself drifting a bit as I read. As fascinating as Max should be - he took a backseat when his lifelong friend Hughie was in the scene. Max's life is unreal, to be sure, but I found his character a bit unreal as well - and found myself gravitating toward the more sympathetic Hughie.
I enjoyed this book - maybe not as much as I'd hoped - but would recommend it without reservation. I am not sure, however, if it leaves me wanting to rush out and buy more of Greer's works.
11 von 11 Kunden fanden die folgende Rezension hilfreich
Unlikable characters but fascinating story
16. Mai 2005
Format:Taschenbuch
Max Tivoli's father proudly declares him a "gnome" at his birth, and throughout the course of his backwards life Max will constantly question his "monstrous" blood. Indeed, his unique disability forces upon him choice after choice in which he must wound others if he is to experience any happiness of his own. It both ruins his relationship with Alice, his obsession and the love of his life, and offers him the bittersweet opportunity for another chance with her when she no longer recognizes the man who youthens, rather than ages. Max's relationships with Alice divide the book into thirds: first, he is her elderly-seeming landlord, then for a few short years he is her contemporary, and finally, as the book is told in flashback, Max returns to his old love in the guise of a child.
There's something depressing about a book in which you simply cannot bring yourself to love any of the main characters. With a single exception, the characters in "Max Tivoli" are selfish and self-centered, occasionally cruel and often insensitive, and delving into pathetic every time they reach for sympathy.
The exception is Hughie, who befriends Max when he is a child of six and looks like an old man, and stays with him his entire life until he is an old man in the body of a child. Hughie is almost the only person outside Max's family to know the truth, and his steadfast loyalty and unquestioning friendship were more heartwarming than anything else in this book. Forget the love story between Max and Alice - the truest love here is between Max and Hughie.
The first part of the book is richly steeped in the atmosphere of late nineteenth century San Francisco. It's full of lush detail and is firmly rooted in a sense of time and place; critical when you're dealing with a story such as this one, where time is of such vital importance. And yet, by the second third of the book, we start to drift apart from the setting, losing the essence of the era just as Max himself is starting to recognize what time is going to mean for him. Was this deliberate? Maybe. I can see the author transitioning, allowing Max's own life to become the yardstick by which we measure the passage of time, rather than the events of the outside world. But if so, it's a decision I don't agree with.
That's a minor quibble, though, and a question of style. And even the most unlikable characters are beautifully drawn, complex and all too human. Max's unusual lifespan is the frame upon which the story is built, and it's an original and interesting one, supporting the book without overwhelming it. I could go on and on about the parts that bugged me, but when I set the book down, my overall impression was Wow, that was a great book. In the end, that's all that matters.
There's something depressing about a book in which you simply cannot bring yourself to love any of the main characters. With a single exception, the characters in "Max Tivoli" are selfish and self-centered, occasionally cruel and often insensitive, and delving into pathetic every time they reach for sympathy.
The exception is Hughie, who befriends Max when he is a child of six and looks like an old man, and stays with him his entire life until he is an old man in the body of a child. Hughie is almost the only person outside Max's family to know the truth, and his steadfast loyalty and unquestioning friendship were more heartwarming than anything else in this book. Forget the love story between Max and Alice - the truest love here is between Max and Hughie.
The first part of the book is richly steeped in the atmosphere of late nineteenth century San Francisco. It's full of lush detail and is firmly rooted in a sense of time and place; critical when you're dealing with a story such as this one, where time is of such vital importance. And yet, by the second third of the book, we start to drift apart from the setting, losing the essence of the era just as Max himself is starting to recognize what time is going to mean for him. Was this deliberate? Maybe. I can see the author transitioning, allowing Max's own life to become the yardstick by which we measure the passage of time, rather than the events of the outside world. But if so, it's a decision I don't agree with.
That's a minor quibble, though, and a question of style. And even the most unlikable characters are beautifully drawn, complex and all too human. Max's unusual lifespan is the frame upon which the story is built, and it's an original and interesting one, supporting the book without overwhelming it. I could go on and on about the parts that bugged me, but when I set the book down, my overall impression was Wow, that was a great book. In the end, that's all that matters.
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