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Kurzbeschreibung
Bei einem Unfall auf einer Bohrplattform vor Neufundland verliert Helen ihren Mann Cal. Die vierfache Mutter muss nun ihre Kinder alleine großziehen. Lange Zeit demonstriert sie nach außen hin Stärke: sie sucht sich Arbeit, erledigt den Haushalt und unternimmt Reisen. Doch innerlich bleibt sie von der Trauer um ihren Mann gebrochen. Als nach Jahren der Isolierung ein neuer Mann in ihr Leben tritt und die Kinder aus dem Haus sind, steht ihr Leben vor einer bedeutenden Wende. Lisa Moores Roman ist von erstaunlicher Intensität. Mit einer Sprache von ungewöhnlicher Sinnlichkeit erkundet sie die Gefühlswelt ihrer Protagonisten und erzählt eine Geschichte über Liebe, Tod, Alltag und Familie.
Über den Autor
Lisa Moore is the acclaimed author of Alligator, winner of the Commonwealth Prize for Canada and the Caribbean, a finalist for the Giller Prize and longlisted for the Orange Prize. Her story collection Open was also a finalist for the Giller. Both books were bestsellers in Canada. Lisa Moore lives with her husband and two children in St John's, Newfoundland.
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2 von 2 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch|Von Amazon bestätigter Kauf
Ein wirklich schönes Buch über eine Frau, die nach dem Unfalltod ihres Mannes auf Hoher See mit ihren Erinnerungen und Sehnsüchten zurecht kommt, ohne dabei aufgesetzt oder schwülstig zu wirken. Der Untergang der Ölplattform ist historisch und offenbar genauestens recherchiert. So gewinnt das Buch eine Bodenständigkeit, die die selischen Vorgänge der Protagonistin umso glaubwürdiger dargestellt erscheinen lassen. Sehr angenehme Unterhaltung, die viele Anstösse zum Nachdenken bietet.
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14 von 17 Kunden fanden die folgende Rezension hilfreich
A Powerful Novel Brilliantly Written
27. März 2010
Format:Taschenbuch|Von Amazon bestätigter Kauf
Just beyond the middle of this incredible novel, the central character, Helen, is part of a yoga class. And it serves as the perfect metaphor for the theme of the novel. The yoga instructor, as they do, is uttering those ¡§yoga¡clicheVs about finding inner peace, blah, blah, blah. And Helen thinks, ¡§I am supposed to achieve balance.¡ This might well have been the opening of the novel.
In 1982 The Ocean Ranger, a vessel owned by an oil company, sinks in the North Atlantic. And everyone aboard drowns, including Cal, Helen's husband, leaving her with three young children and, unknown to her at the time, another on the way. In 2008 Helen has yet been unable to come to any resolution about his death and the impact it has had upon her life while she waits for her oldest and only son, John, to arrive from his world travels with a woman who is pregnant with his first baby, a woman with whom he had a one-week affair in Iceland seven months earlier. So in a sense this novel is about that one moment in time except, of course, it isn't.
We are provided with up-close and personal grief and what it has done to the central character and, in turn, her four children, most especially the older three. It is very powerful and so artistically handled in the hands of Lisa Moore, the author of Alligator. (I had been ill-informed about February being a sequel to Alligator. If it is¡Xand I read Alligator before getting into this one¡XI certainly don't see any connections except they both take place in Newfoundland.) Alligator is very well written, very engaging. This one is even more so.
Helen has spent her adult life being ¡§grateful for all the brief escapes¡ offered her, often escapes she creates by allowing her mind to imagine what happened and how others responded and thought. If ever there was a postmodern existential novel that reaches out and grabs, this is it. There is no end to grief. None.
Lisa Moore is a master at point of view, skillfully allowing us into Helen's head (and occasionally other characters' heads, especially her son John's) with what essentially are scattered thoughts that all of us have, seemingly disconnected ones. She bounces back and forth in time, giving us little pieces, almost like doing a picture puzzle but without the package cover to guide us. And that is the beauty of the writing; it is so lacking in a linear plot line. So as a reader you say, ¡§Wow. So that is what happened back...¡
The style fascinates me. But it could take some ¡§getting used to¡ for readers who have not experienced what I will call a collage style, one in which thoughts from the present and past exist together, often in the same paragraph. But it is a wonderful style if the reader gives the first few pages a chance. There are no quotation marks for dialogue, not even question marks when a question is ask. But it works brilliantly and makes this such a unique reading experience.
Helen's has been a rudderless life. She is clearly depressed, a woman who refuses any of the drugs suggested to her, a woman who parents with a because I told you to attitude. Now in her mid-fifties she wonders if she might find love somehow, somewhere. I will not disclose how she goes about doing so. But we know nothing will work out because it is a world where essentially love seems not to exist much, at least not for Helen who truly did love Cal. And he apparently loved her as well.
I can honestly say this is one of the most moving novels I have ever read.
In 1982 The Ocean Ranger, a vessel owned by an oil company, sinks in the North Atlantic. And everyone aboard drowns, including Cal, Helen's husband, leaving her with three young children and, unknown to her at the time, another on the way. In 2008 Helen has yet been unable to come to any resolution about his death and the impact it has had upon her life while she waits for her oldest and only son, John, to arrive from his world travels with a woman who is pregnant with his first baby, a woman with whom he had a one-week affair in Iceland seven months earlier. So in a sense this novel is about that one moment in time except, of course, it isn't.
We are provided with up-close and personal grief and what it has done to the central character and, in turn, her four children, most especially the older three. It is very powerful and so artistically handled in the hands of Lisa Moore, the author of Alligator. (I had been ill-informed about February being a sequel to Alligator. If it is¡Xand I read Alligator before getting into this one¡XI certainly don't see any connections except they both take place in Newfoundland.) Alligator is very well written, very engaging. This one is even more so.
Helen has spent her adult life being ¡§grateful for all the brief escapes¡ offered her, often escapes she creates by allowing her mind to imagine what happened and how others responded and thought. If ever there was a postmodern existential novel that reaches out and grabs, this is it. There is no end to grief. None.
Lisa Moore is a master at point of view, skillfully allowing us into Helen's head (and occasionally other characters' heads, especially her son John's) with what essentially are scattered thoughts that all of us have, seemingly disconnected ones. She bounces back and forth in time, giving us little pieces, almost like doing a picture puzzle but without the package cover to guide us. And that is the beauty of the writing; it is so lacking in a linear plot line. So as a reader you say, ¡§Wow. So that is what happened back...¡
The style fascinates me. But it could take some ¡§getting used to¡ for readers who have not experienced what I will call a collage style, one in which thoughts from the present and past exist together, often in the same paragraph. But it is a wonderful style if the reader gives the first few pages a chance. There are no quotation marks for dialogue, not even question marks when a question is ask. But it works brilliantly and makes this such a unique reading experience.
Helen's has been a rudderless life. She is clearly depressed, a woman who refuses any of the drugs suggested to her, a woman who parents with a because I told you to attitude. Now in her mid-fifties she wonders if she might find love somehow, somewhere. I will not disclose how she goes about doing so. But we know nothing will work out because it is a world where essentially love seems not to exist much, at least not for Helen who truly did love Cal. And he apparently loved her as well.
I can honestly say this is one of the most moving novels I have ever read.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Emerging from Grief
9. August 2010
Format:Taschenbuch
This book by Canadian novelist Lisa Moore is on the long list for the 2010 Man Booker Prize. It is a curious choice, because it is a quiet book, entirely domestic in scale, in which very little actually happens. I suppose that Anne Enright's THE GATHERING (the 2007 winner) would be the closest comparison. Lisa Moore's novel is similar in being centered around a single family in the aftermath of a death, and moving freely through several decades. But Moore does not have Enright's hysteria or obsessive sexuality, and I appreciate her for that. What she does have is sheer good writing, rich characters, and a sense of truth.
At fifty-six, Helen O'Mara is the mother of four grown children and the grandmother of two. She had only just become pregnant with her last child when her husband Cal was drowned in the collapse of the Ocean Ranger oil rig off the coast of Newfoundland in 1982 (a real historical disaster). For more than a quarter-century, she has mastered her grief, seeing her children grow to adulthood, and building up a business for herself as a dressmaker. But she feels unfulfilled and lonely, and will remain so until she comes to terms with Cal's death. The book jacket suggests that there may be undisclosed secrets here, but that is not Moore's way. The facts are as they always were, but the unexpected homecoming of her son John (who also works in the oil industry) triggers a series of memories in Helen, jumping freely in meticulously-labeled short sections between 1972 and the present, which eventually lay out her entire adult life in some kind of a pattern, and enable her to think towards a future.
When reading (and not especially liking) Ayelet Waldman's recent RED HOOK ROAD, another novel about a family in a coastal town dealing with grief, I put down my disenchantment to a personal dislike for novels that were small-scale and domestic, rather than dealing with large themes. But FEBRUARY is even smaller in scale, and I enjoyed it greatly. Mostly because Moore writes so well. Little descriptive touches such as "the scrudge-squeak of a naked foot on the royal blue gym mats" in a yoga class, or a tired woman sitting down in a coffee shop who "unzips her jacket and sighs so deeply she falls into herself like a cake." But more than that -- she writes the way people think and talk, in interrupted phrases and non-sequiturs, illuminated by sudden flashes of insight. Yes, there are flaws in the book: it tends to meander a little, some promising ideas go nowhere (such as the fact that John works for a company that perpetuates the same risks that killed his father), and the conclusion is perhaps too pat. But the sense of being inside the mind and heart of such a well-observed character counts for a great deal.
At fifty-six, Helen O'Mara is the mother of four grown children and the grandmother of two. She had only just become pregnant with her last child when her husband Cal was drowned in the collapse of the Ocean Ranger oil rig off the coast of Newfoundland in 1982 (a real historical disaster). For more than a quarter-century, she has mastered her grief, seeing her children grow to adulthood, and building up a business for herself as a dressmaker. But she feels unfulfilled and lonely, and will remain so until she comes to terms with Cal's death. The book jacket suggests that there may be undisclosed secrets here, but that is not Moore's way. The facts are as they always were, but the unexpected homecoming of her son John (who also works in the oil industry) triggers a series of memories in Helen, jumping freely in meticulously-labeled short sections between 1972 and the present, which eventually lay out her entire adult life in some kind of a pattern, and enable her to think towards a future.
When reading (and not especially liking) Ayelet Waldman's recent RED HOOK ROAD, another novel about a family in a coastal town dealing with grief, I put down my disenchantment to a personal dislike for novels that were small-scale and domestic, rather than dealing with large themes. But FEBRUARY is even smaller in scale, and I enjoyed it greatly. Mostly because Moore writes so well. Little descriptive touches such as "the scrudge-squeak of a naked foot on the royal blue gym mats" in a yoga class, or a tired woman sitting down in a coffee shop who "unzips her jacket and sighs so deeply she falls into herself like a cake." But more than that -- she writes the way people think and talk, in interrupted phrases and non-sequiturs, illuminated by sudden flashes of insight. Yes, there are flaws in the book: it tends to meander a little, some promising ideas go nowhere (such as the fact that John works for a company that perpetuates the same risks that killed his father), and the conclusion is perhaps too pat. But the sense of being inside the mind and heart of such a well-observed character counts for a great deal.
1 von 1 Kunden fanden die folgende Rezension hilfreich
Stunning observance of our interior world
6. Oktober 2010
Format:Taschenbuch|Von Amazon bestätigter Kauf
This is my first discovery of Lisa Moore; what an extraordinary writer. The book explores the interior lives of two characters, Helen and John, a mother and son (other characters are rendered in wonderfully acute detail). I can understand why some readers might feel impatience with the patchwork style of writing, but I found it endlessly fascinating and real, the way real thoughts and feelings move from place to place and back again (and not in a meandering way. There's purpose and motivation in the way thoughts move in this book). Moore seems to have an unerring sense of how people's emotions move through the body and she is precise and beautiful in her descriptions. I found this book very powerful. 4 stars rather than 5 because the son is described by the mother in ways I didn't find true in his behavior, and I can't tell if that's purposeful or a gap in the writing. There's something missing there. And the ending feels rushed and not entirely satisfying (Helen's sister Louise was left out of the end, for one thing, which seems a terrible oversight, unless I missed something about her earlier on. And John's story leaves us hanging terribly). But the son carries within his narrative a sense of hope that was lost when his father died (as experienced by his mother), and I find that idea exquisitely moving. Very glad to have found this author.
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