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February (Englisch) Taschenbuch – Rauer Buchschnitt, 2. Februar 2010

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Produktinformation

  • Taschenbuch: 320 Seiten
  • Verlag: Grove Press, Black Cat (2. Februar 2010)
  • Sprache: Englisch
  • ISBN-10: 0802170706
  • ISBN-13: 978-0802170705
  • Größe und/oder Gewicht: 20,8 x 14 x 2,3 cm
  • Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 576.472 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Produktbeschreibungen

Pressestimmen

“Eloquently written . . . Moore has great strengths as a writer, chiefly in her powers of description. . . . [In February she] provides vivid, cinematic snapshots of family life . . . [and] a woman’s return from the long exile of her grief.”—The New York Times Book Review

“Lisa Moore’s artfully fragmented narrative movingly reflects Helen’s shattered psyche. But like a ray of wintry sunshine piercing the ocean fog, the novel’s conclusion holds out hope that frozen hearts can thaw and even made-up minds can be changed.”—The Boston Globe

“[An] extraordinary, unusually philosophical and human novel.”—The Irish Times

“Assured . . . [with] supple, graceful prose . . . Moore's firm grip and fine craft make something special from this novel of disaster and its aftermath.”—The Independent (UK)

“Lisa Moore can do impressive things with plain language.”—Star Tribune (Minneapolis)

“Quietly reflective . . . Evocative . . . Expressive.”—Publishers Weekly

“Moore offers us, elegantly, exultantly, the very consciousness of her characters. In this way, she does more than make us feel for them. She makes us feel what they feel, which is, I think, the point of literature and maybe even the point of being human. . . . [Lisa Moore] gets life. . . . Exquisitely mindful . . . Luminous.”—The Globe and Mail

“Deftly executed and moving.”—The Star (Toronto)

“Emotional tension, coupled with an acute eye for regional setting and dialect, has long been a hallmark of Moore’s work. . . . [February] is hauntingly beautiful . . . [and its] subtle styling, sparse dialogue and sombre tone succeed at shining a light not only upon the impact of the Ocean Ranger disaster, but also upon the lasting aftermath of death itself. . . . Moore pens another triumph.”— The Chronicle Herald (Canada)

“Moore’s ability to write originally and passionately about love and death relies on her eye for detail and her psychologically acute portrayals. This may be beautiful writing, but it is never without the necessary bit that makes it real.”—Scottish Herald

“Glowing . . . Elegant . . . It has been a joy indeed to discover Lisa Moore.”— The Telegraph (UK)

“[Moore] turns a sad story simply told into a minor-key triumph. . . . A novel which takes a moment of catastrophe and focuses not on the moment itself but on all the moments that surround it; that are altered, subtly or dramatically, by it. . . . A novel that stands as a candid atomization of mourning in all its endlessness and banality.”—The Guardian

“This profoundly moving, beautifully written book describes in painful detail the aftermath of loss and the ways in which people manage to cope with life’s most extreme events.”—Waterstones Book Quarterly (UK)

“Life in the pages of Lisa Moore’s glorious new novel feels more real than it does in the world we inhabit. . . . Her vital, original imagery startles us into her characters’ consciousness: She forces us to engage the world around us with an intimacy we tend to avoid. . . . It is the peculiar aptness, of Moore’s images—which are the individual perceptions of an idiosyncratic mind—that fuel her astounding literary gift. . . . Moore [presents a] wise equation: that love plus loss equals life. Her vision of the world is bitter and joyful; angry and generous. And true. Very true.”—The Montreal Gazette

“A powerful novel for its insight into emotional endurance, and how life goes on even as tragedy leaves broken slivers of hearts in its wake. . . . Loneliness is hard to write about without becoming maudlin or clichéd. But Moore seems to understand this very human facility, describing the unconscious ways we sometimes try to avoid feeling overwhelmed by it. . . . Incredibly empathetic . . . There’s an economy about Moore’s style that allows us to fully see how a once vibrant life can be whittled down by a pain and loneliness that is far too deep to communicate, but by grounding her writing in the physical world, Moore shows how life’s everyday tasks and encounters create a comforting continuity that eventually wears down emotional pain to allow forward movement.”—The Ottawa Citizen

“Moore’s writing resembles poetry. . . . She expertly captures her characters’ physical surroundings in sharp-edged fragments of color and sensation . . . [and] probes their emotional landscapes gently and thoroughly. . . . A marvelous book.”— Winnipeg Free Press

“A perfectly pitched novel.”—Woman&Home (UK)

“This mesmerizing book is full of tears, and is a graceful meditation on how to survive life’s losses.”—Marie Claire (UK)

“Lisa Moore’s heart-warming second novel is domestic fiction at its finest.”—Daily Mail (UK)

“Skillfully structured . . . [A] delicate, involving novel.”—The Daily Express (UK)

Werbetext

A moving and masterful novel from an extraordinary writer comparable to Carol Shields and Mary Lawson, longlisted for the Booker Prize 2010. -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch .

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2 von 2 Kunden fanden die folgende Rezension hilfreich Von Kappepaul am 23. Januar 2012
Format: Taschenbuch Verifizierter 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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Amazon.com: 49 Rezensionen
16 von 19 Kunden fanden die folgende Rezension hilfreich
A Powerful Novel Brilliantly Written 27. März 2010
Von Eric Selby - Veröffentlicht auf Amazon.com
Format: Taschenbuch Verifizierter 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.
11 von 13 Kunden fanden die folgende Rezension hilfreich
Could not finish it..... 15. Januar 2012
Von Mary E. Kooistra - Veröffentlicht auf Amazon.com
Format: Taschenbuch
This book was a gift from a dear friend....so I tried. I think she chose it because, like the main character, I was suddenly widowed at a fairly young age.
I read 100 pages and then decided life is too short and there are too many other books I want to read.
This is the first book I have read by this author who has won a prize for an earlier work. Her style seems to be based on some advice she was once given to insert details and descriptions. She does have a LOT of details which are for the most part, not illuminating in any way. I remember one particular tedious section when Jane is buying a cookie at an airport ....excruciating detail on the store clerk and the difficulty she had in finding the cookie Jane wanted. I finally gave up the book when I came upon two non plausible parts. Jane has had a week long fling with John in a country foreign to both. No further contact until Jane calls him on his cell phone 6 months later. No explanation as to how she had his cell number as they were apparently pretty much inseparable during this week and parted with the understanding that it was over. BUT after Jane hangs up on John we are told that John doesn't have Jane's number to call her back. LOOK ON YOUR CELL PHONE JOHN - even I (old as I am) know that. Then we are told that in 1982 or 1983 when John (age 10 or 11) goes to a school counselor with troubling dreams after the death of his father, the school counselor asks him if he "had an orgasm" because the dreams had some sexual overtones. Please - I cannot believe any school counselor would use that word or make that inquiry....
Others seem to love this book - but I can't figure out why.
3 von 3 Kunden fanden die folgende Rezension hilfreich
Emerging from Grief 9. August 2010
Von Roger Brunyate - Veröffentlicht auf Amazon.com
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.
2 von 2 Kunden fanden die folgende Rezension hilfreich
Read for artistic merit, maybe. 15. April 2014
Von BMCBookBabe - Veröffentlicht auf Amazon.com
Format: Taschenbuch
I wanted to love the book, FEBRUARY, written by Lisa Moore.
Maybe I didn’t because the author skipped around for both timeline and point of view, making the story a bit convoluted and exhausting to follow. Maybe I didn’t, because it’s still too soon for those touched by the tragedy to appreciate this novel strictly for its artistic merit—the lack of quotation marks were meant to forewarn of its literary nature, I suspect. Maybe I didn’t, because I clearly remember the tragic sinking of the oil rig, Ocean Ranger, in 1982 and the author slanted the details of the sinking, and stretched the realities of the subsequent recovery of the victims, beyond my ability to suspend my disbelief.
My best guess is that I didn’t like her portrayal of the widow as chronically, clinically depressed, without the ability to break free of her grief in the twenty-five years after the death of her husband since, generally speaking, Newfoundlanders are a resilient lot. And how could she have so little support after the tragedy when Newfoundlanders are renowned for their kindness and ongoing support to family, neighbors, and even strangers, in times of tragedy.
As I read, I did enjoy the descriptions of familiar streets, the weather, and other aspects of Newfoundland life and the author used beautiful, poignant prose to capture individual moments, so maybe I didn’t enjoy FEBRUARY because the memory of that loss of 84 souls to the sea is still too raw for me. But, if this book brings more attention to the dangers inherent in offshore drilling operations, and the ongoing need for diligent safety assessment and regulatory enforcement, then I thank Ms Moore for creating this story.
1 von 1 Kunden fanden die folgende Rezension hilfreich
"Solitude, she thinks, is a time-release drug... 19. Februar 2013
Von Friederike Knabe - Veröffentlicht auf Amazon.com
Format: Taschenbuch
"...it enters the system slowly and you can become addicted. It's not an addiction, it is a craft."

On Valentine's Day 1982, the 'Ocean Ranger', an assumed-to-be unsinkable oil rig, sank during a vicious storm out in the North Atlantic. Thirty years later the tragic events of that night still resonate deeply with the affected communities of Newfoundland. Families lost fathers, brothers, sons and lovers during a night when hope and prayers for a miracle turned into despair and grief: all eighty four crew were lost, either on board or in the ice cold water. Newfoundland award winning author, Lisa Moore's 2009 novel FEBRUARY fictionalizes the deep physical and emotional shockwaves in the aftermath of the disaster by telling the story of one widow, her profound grief and the long-lasting scars on her soul while putting all her energy into bringing up her family and healing herself.

Lisa Moore's heroine, Helen, thirty at the time of the disaster, was robbed of her husband Cal, the love of her young life, the breadwinner for their young family with three small children with a fourth on the way. Much of the story is set in 2008, yet with Helen's mind often wandering back to that fateful night in 1982, the innocent years prior to the disaster and the many years since. Helen reflects on her emotional state of mind at the time as "being outside": "The best way to describe what she felt: She was banished. Banished from everyone and from herself." Still, the daily life had to go on while grief and pain were kept locked into the inner folds of her mind. "Helen wanted the children to think that she was on the inside, with them. The outside was an ugly truth that she planned to keep to herself."

The sudden loss of a loved one may not seem unique when seen from the outside; grief, however, is exclusive to each person, intimately personal and not always easy to understand for others. Moore's capacity to capture and express the individuality of Helen's grieving in a way that we as readers can relate to it in our own personal ways, speaks to the quality and thoughtfulness of her writing. In 2009, I have to admit, this was not a book that I wanted to read, given my own recent loss, but four years later, I can appreciate Helen's story and the winding and twisting process of her coming to terms with her grief and her life. FEBRUARY is in no way a sad or depressing book. Moore brings enough detail to Helen's life moving forward to keep the reader supportively engaged. Helen is surrounded by her three daughters and John, her oldest. John is a major character in the novel and we follow his growing up from the ten year-old at the time of the disaster to a young man who develops his own means to deal with loss. The image of the absent father is well developed through John's and Helen's recollections. As a result, Cal remains very much a part of the novel.

Even after many years, Helen's mind keeps returning to the night of the disaster. Not knowing what really happened in the last hours of Cal's and his mates' lives, does not let her rest. What did they know and understand of the crisis? "They all knew they weren't safe. They all knew. But they had decided not to tell anyone. But it leaked out of them in larks and pranks and smutty puns, and it leaked sometimes out in a loneliness that made phone calls from land hard to handle."

FEBRUARY is not a chronological account of Helen's efforts "to get back on her feet". Not at all. Like memories and dreams, the narration jumps timelines, joining unrelated events or triggering sudden vivid images. Moore's narrative flows from the present in 2008 to 1982, the other still vivid present, to times before and in between... Sometimes her chapter dates give you an indication where we are, often, though, she relies on the reader to figure out where Helen's mind is at that moment. And, with a bit of reading into the novel, you do. Moore has a subtle and compassionate way to convey her character's story. At times, her writing structure reminded me of a puzzle, where, unexpectedly, one small 'piece', be it somebody's gesture or the colour of the ocean on a misty night, connects several until then unconnected images and a broader perspective falls into place. Overall, this is a beautifully developed and affecting story, set in a broader context that is relevant as much today as it was then. Some of the side stories seem to be more than complementing the central story and distracted to some degree. The novel's ending may not be to everybody's liking, but these, in the end, are minor irritants. (4.5 stars) [Friederike Knabe]
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