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Lights Out in Wonderland (Englisch) Taschenbuch – 2. September 2010

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If any novelist can collate the killing irony of what is happening around us it is DBC Pierre. " -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

Über den Autor und weitere Mitwirkende

DBC Pierre lives in County Leitrim, Ireland. Vernon God Little, his debut novel, won the MAN Booker Prize and the Whitbread First Novel Award. Ludmila's Broken English, his second, was published in 2006.

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Eat This Ayn Rand! 16. September 2011
Von Andrew - Veröffentlicht auf
Format: Gebundene Ausgabe
I don't understand how people who are intelligent enough to read novels are capable of saying things like "I didn't like the book because the main character was not likable," as if that passes for some kind of critique. I guess such a person can stomach only stories of superheroes or else abject victims. Some people, I guess, can connect to their fellow inhabitants of this planet only through fawning admiration or pity. I am not saying such people are evil, just not the type to get your literary guidance from as they could steer you away from a book as masterful and soulful and smart as DBC Pierre's "Lights Out in Wonderland."

No writer of fiction has been this obsessed with capitalism since Ayn Rand. But Pierre is here not to worship but to pee in the fountainhead. "We don't march through an age of civilization," say Gabriel Brockwell, the novel's lyrical coke-snorting protagonist, "but float between Windows and Mac, treading water." Gabriel has decided that in the modern world the only viable options are to be a child or a thief, and he has too much brains and sensibility to be either. Thus in a lounge at rehab outside London, he formulates an air-tight rationale for self slaughter. But his plans to kill himself with panache go off the rails in Tokyo. Gabriel then finds himself dropped Wizard of Oz-like in Berlin, the capital of anti-capitalism, where he is pressed by GDR holdovers to accept a new mission. As hard as Pierre is on Starbucks, he reserves his most devastating barbs for his hero, who is reduced to a state of near human rubble by the final act.

But don't expect to see one of the hobbit actors from Lord of the Rings playing Gabriel in a movie at your neighborhood multiplex anytime soon. Just when you start to get acclimated to Pierre's world, there is a debauch to drop the jaw. A faithful adaption of this book would land its producer and director in prison. This is a book that tells you it is shocking and actually is. Stops just short of Nabokov. A few hairs.

However the ultimate destination of the novel is not a layer of hell or destruction or triumph. It is a humble tale of survival. A state of anti-nimbus of sorts, as Gabriel might put it.
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Last night of the satyricons 25. Oktober 2010
Von Olly Buxton - Veröffentlicht auf
Format: Kindle Edition
Wow. What a blitzkrieg.

As the last ripples fan to the edge of the pool, and DBC Pierre's "loose trilogy" bids the world adieu, you wonder whether he's not having trouble letting go: at least three blind summits come and go before you finally get there (I was well and truly ready for it) and even then, after the curtain has fallen, DBC seems reluctant to sign off, calling from the wings, supplying rules of interpretation and further clues to the hermeneutic after the final whistle.

You sure as hell need them, and that's no compliment from a traditionalist sort of a chap who believes a novel should stand or fall on its text as presented. I don't think you could say that in a million years about Lights Out in Wonderland, which raves and rambles all over the place, like a stream- of-consciousness fire hose that's been let go: it is bombastic, articulate, erudite, esoteric and often funny, but all the same it's a mess, it is incoherent, and I have absolutely no idea what Pierre's point was in writing it.

Narrator Gabriel Brockwell plays like something between Rik from Comic Strip's The Young Ones and Richard E. Grant's character in Withnail And I (correct: neither are likeable figures) - by turns a fruitlessly over-educated dilettante and a selfish, hypocritical prig. Despite being on the end of telling damnations from characters as he goes (his father, his flatmate, his girlfriend, and various Germans) - these are the most coherent and biting passages in the book - Gabriel sees the world as everyone else's problem, and has resolved to kill himself.

Being a self-described epicurean, philosopher and poet (Pierre appears to share this view: I'd describe Gabriel more narrowly as just a bit of a git) Gabriel wishes to end on a "nimbus" high (you sort of have to just imagine what this might be - he says "Whoosh" a lot) and so instead of quickly topping himself (which would have suited me fine) he effortlessly and implausibly glides, leaving a trail of utter destruction in his wake, from his voluntary sectioning in a mental hospital in the south of England via his London flat to precipitating an unfortunate death in a haute cuisine restaurant in Tokyo and organising an End-of-Days banquet in the soon to be derelict Tempelhof airport - once a jewel in the Nazi crown - at the centre of Berlin.

His plan is to organise a Bacchanalian feast, spring his compadre from a Japanese gaol and finally, victoriously, buy the farm.

Why this trajectory? Your guess as good as mine. Coherence doesn't seem to be a high priority for Pierre who, without so much as a by your leave, introduces characters, dilemmas and problems and just as casually jettisons them (or perhaps plain forgets about them) as he goes. It feels like this novel was written in a single, drug fueled blitz.

For all that the book remains surprisingly engaging. I got to the end, and I'm prone to binning books like this. It's so bombastic in style you can only get through it at pace, by aquaplaning, and at that pace there are consolations, though twenty four hours after putting the book down it's hard to recall what these are.

The final feast descends at the end into something resemblent of Caligula (no doubt Pierre would point instead to The Satyricon) - blackly comic, I suppose, if more than a little queasy - but I closed the book wondering what its point was, other to show off its author's obvious erudition and make the point, which hardly needed this industry, that we live in banal times.

Pierre is able and willing to descend into gothic depravity, but he isn't funny enough and nor is his satire pointed enough to make his self indulgence worth the read.

Olly Buxton
6 von 8 Kunden fanden die folgende Rezension hilfreich
Disappointing 14. August 2011
Von Leo's Library - Veröffentlicht auf
Format: Gebundene Ausgabe
I'm pretty sure Pierre was trying to create the next Patrick Bateman, with all the irreverence and style, but he falls very, very short: Whereas something about Bateman's sociopathy is easy and charming, Pierre's protagonist is brittle, affected, and unlikeable. So no, I don't want to watch him follow his overweening ego around the world in one last "orgiastic" hurrah. Plus, while I am generally a big fan of foonotes, here they are improperly used and asinine. A disappointing venture overall.
1 von 1 Kunden fanden die folgende Rezension hilfreich
Anticlimactic, not in the same league as Vernon God Little 6. Mai 2013
Von Jesk - Veröffentlicht auf
Format: Kindle Edition Verifizierter Kauf
I thought the initial chapters weren't engaging and dull. It took me months to get past the first 20 pages because I kept getting distracted by other books.
The characters are not developed and the writing isn't as succinct as VGL. The farcical plot line is just that, farcical - you don't really believe a word of it, which is a shame because Pierre had me believing the whole way through VGL.
I also take offense to the almost self congratulatory aspects of the protagonists drug addiction. I know that Pierre suffered in the past, but to then romanticize it in the actions of the protagonist is quite frankly, boring.
A real shame of a book, because Vernon God Little is definitely in my top 10 books of all time. Hopefully Pierre gets it right again next time around.
For Those Who Like Their Literature a Little Twisted, This Comes Highly Recommended 2. März 2014
Von Conner Hobson - Veröffentlicht auf
Format: Gebundene Ausgabe
This book was recommended to me in the highest terms by a friend as she was reading it. "Sex and drugs in Tokyo, London, and Berlin" she said. Shortly afterwards I stumbled over it in the library and picked it up immediately. I will admit that based on the title and my friend's description I expected a different experience; one more in touch with the Wonderland reference made on the cover. What I found was something altogether different, but not in a disappointing way.
The protagonist of this book will either suck you in or put you off right off the bat. The protagonist is very conflicted and hypocritical, with a downright mesmerizing voice. While cynical, his capacity for insight is staggering and each chapter contains very striking observations that will really make you think. I was able to connect with him very easily, and I think that whether or not you can connect with him will be the deciding factor in whether or not you will enjoy this book.
The writing style of this book is impeccable. The author experiments with all kinds of ambrosial words and the book is full of beautiful descriptive sentences and excellently quotable dialogue. I really can't stress enough how much I enjoyed the way the author wrote, and I will definitely seek out his other works for this purpose.
One of the selling points of this book is in the fact that it takes place in 3 major cities, London, Tokyo, and Berlin, though the vast majority of the book takes place in Berlin. While Berlin is an excellent location for this story and the author does a great job in making you feel like you are there, I would have liked to see more of the other cities; the time spent in London is minuscule and all of the action in Tokyo takes place in a single locale.
As for the plot, while it drags a little in the 3rd quarter, the overall structure of the book is different and outstanding. This is a book more about concept than about plot. It explores the consumer culture, the nature of excess, and has a strong anti-capitalist air. There is a profound layer of debauchery used in equal parts to seduce and repulse the reader. It makes no effort to be politically correct and has no qualms with removing you from your comfort zone in order to get across its message, and doesn't always explain its reasons to you for doing so.
While the book has a dismal tone most of the way through (after all the book begins with the assertion that the protagonist is planning to kill himself), it ends with a bright note of optimism that shines through the grit of the rest of the narrative; I thought it was an excellent ending to an imperfect but great book.
I am very excited to see what this author does next and would definitely recommend him to other readers, though his style is not for everyone, particularly the faint of heart.
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