Fury.: Amazon.de: Salman Rushdie: Englische Bücher

Amazon.co.uk

Even before it published, Salman Rushdie's novel Fury was the subject of controversy. Holland's literary community was livid that a novel written by a non-Dutch writer was funded by their government. Rushdie watchers will spend column inches playing "spot the unmistakable biographical references": the main character Malik Solanka is a 55-year-old Indian professor; he later comes to live in England and flees to New York, leaving his wife and young son; in America, he falls for the beautiful Neela, clearly modelled on Rushdie's partner. However, tempting as it may be to focus on the circumstances of a book, rather than the text alone, ultimately it is the prose that must speak for itself.

The Fury of the title refers both to the mid-life rage of the protagonist, who finds himself standing over his sleeping wife and son armed with a kitchen knife, and the mythological furies who tore to pieces those men whom the gods had judged. As in his previous novel The Ground Beneath Her Feet, he explores the relationship of the artist to his creation and to his audience. Solanka--Cambridge philosopher, doll-maker and possible serial killer--is the unlikely and unwilling creator of a pop-culture phenomenon that comes to represent everything he despises about modern cultural malaise. He is a part-creator of a culture he hardly understands--an anachronism. The novelist's prose reflects this alienation, but unfortunately with few insights or pleasures for the reader used to his contemporary mythological lyricism. Rushdie's pop references check-list the late 20th-century US from Clinton to OJ to the World Wide Web, and this, combined with their built-in obsolescence, renders Solanka/Rushdie's narrative strained. The urban culture of New York and Webspeak provide rich seams of traditional and new vocabularies and grammar for this most magpie-like of playful language lovers to line his literary nest with. However, in so doing, he cuts himself off from the emotional intensity and drive, combined with layered cultural complexity, that has distinguished his work, the most celebrated being Midnight's Children. Rushdie at his best is an intriguing writer; ultimately, it may be easier to extract him from the media circus that surrounds him than from the comparisons with his own compelling body of work. --Fiona Buckland -- Dieser Text bezieht sich auf eine vergriffene oder nicht verf�gbare Ausgabe dieses Titels.

Amazon.com

Fury is a gloss on fin-de-siècle angst from the master of the quintuple entendre. Salman Rushdie hauls his hero, Malik Solanka, from Bombay to London to New York, and finally to a fictional Third World country, all in order to show off a preternatural ability to riff on anything from Bollywood musicals to revolutionary politics. Professor Solanka is propelled on this path by his strange love of dolls. He plays with them as a child; as an adult he quits his post at Cambridge in order to produce a TV show wherein an animated doll, Little Brain, meets the great thinkers of history. Little Brain becomes a smash hit, and perhaps inevitably, Solanka finds himself in America. (It's not only the show-biz version of manifest destiny that brings him to the New World: one night in London he finds himself standing over the sleeping figures of his beloved wife and child, frighteningly close to stabbing them. This intellectual puppeteer is, of course, fleeing himself.)

Now, in New York, he is filled with wrath. Solanka is far from being an Everyman, but his fury is a kind of Everyfury. It's road rage writ large--the natural reaction to an excess of mental traffic. There are several books running simultaneously here: a mystery, a family romance, a bitingly satirical portrait of millennial Manhattan, and a sci-fi revolutionary fantasy. A single fragment gives a sense of Rushdie's reflexive multiplicity: when Solanka finally faces his memories of childhood, he recalls "his damn Yoknapatawpha, his accursed Malgudi." Here's a writer who, leading us into the tender places of his protagonist's soul, stops long enough to reference not just Faulkner but Narayan as well. If it sounds like a bit of a mess, it is. If it sounds frighteningly intelligent, it's that too. --Claire Dederer -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

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An Intellectual black comedy. 3. September 2003

Von E. Ball-Stiefvater

Format:Broschiert

However intimidating Rushdie's linguistic virtuosity may be, this book is a culmination of wit, wisdom, hilarious socio-political observations and delightful philosophical meanderings.
"Professor Malik Solanka, retired historian of ideas, irascible dollmaker, and since his recent fifty-fifth birthday celibate and solitary by his own (much criticized) choice, in his silvered years found himself living in a golden age."

Professor Solanka abandons his life one day without explanation and heads for the only place he believes can erase himself and the fury that lurks within him, New York the city of excess. Arriving, he experiences the opposite, fury is all around him and his own starts to grow.
Rushdie, the iconic storyteller offers us a preposterous storyline for the backdrop of this novel, enticing us to look behind the curtain and grin. The story is saturated with intellect and cunning; modern incident confronting archi-typical emotion, as we race ahead infected by Rushdie's own fury and narrational dexterity.
A satirical essay about cultures, countries and society's ever expanding thirst for more. There are very few writers who have mastered the art of the intellectual black comedy, but Rushdie soars in his métier.

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Do not read this book! 29. November 2006

Von K. Sayn-Wittgenstein

Format:Taschenbuch

This book is a complete waste of time. I am a big Rushdie fan but this book is not worth reading. Fury gets lost in its own weak story with very well written English. The only thing that this book proves is that beautiful English does not make up for lack of story....

Hat Rushdie auf dem Weg in den Westen etwas verloren? 9. Juli 2003

Von Morinic

Im Mittelpunkt von 'Fury' steht Malik Solanka, ein ehemaliger Professor an der Cambridge University, reich geworden durch die Kreation einer Puppe und einer damit verknüpften Fernsehserie, der aus heiterem Himmel seine Familie und Umgebung verlässt und nach New York flieht. Wie der Titel nahe legt, fühlt er sich von den legendären Furien getrieben und verfolgt, und er versucht, in der Anonymität New Yorks einen neuen Anfang zu versuchen und sich neu zu 'erfinden'. Jedoch hat er seine Alpträume mit sich genommen, und die Furien holen ihn schliesslich buchstäblich ein.

Der Roman verfolgt viele miteinander verwobene Ebenen und Erzählstränge. Die Metapher der Puppe, der Marionette, zieht sich durch den ganzen Roman und damit die Frage nach dem, was das Individuum wirklich auszeichnet und es von einer mechanischen Schöpfung unterscheidet. Es ist ein Buch auch über die U.S.A. im letzten Regierungsjahr Clintons, auf dem Höhepunkt ihrer wirtschaftlichen Macht, in einem noch ungebrochenen Börsenboom und besonders auch über New York, über den Kommerz, über eine sinnentleerte Gesellschaft, in der Fassade wichtiger ist als Inhalt. Pädophilie und Inzest, Internetkultur und ethnische Konflikte seien als Beispiele für weitere Themen genannt, die Rushdie in die Handlung einflicht.

Auch in 'Fury' findet man den gewaltigen Sprachfluss Rushdies, Momente unvergleichlicher Fabulierkunst und einige unvergessliche, vielgründige Charaktere. Dennoch, das Buch hat insgesamt nicht die Wucht seiner Vorgänger. Liegt das daran, das dies sein erster Roman ist, der praktisch zu 100% im Westen spielt, in einer reduktionistischen Gesellschaft? Braucht Rushdie die Magie des Orients in seiner Handlung, um in seinen schriftstellerischen Fähigkeiten das Maximale zu erreichen? Wir müssen wohl bis zu seinem nächsten Opus warten, um diese Frage beantworten zu können.