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The Lowland (Vintage Contemporaries) (Englisch) Taschenbuch – 14. April 2014

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  • Taschenbuch: 432 Seiten
  • Verlag: Vintage (14. April 2014)
  • Sprache: Englisch
  • ISBN-10: 0804172285
  • ISBN-13: 978-0804172288
  • Größe und/oder Gewicht: 10,7 x 2,7 x 17,5 cm
  • Durchschnittliche Kundenbewertung: 4.7 von 5 Sternen  Alle Rezensionen anzeigen (14 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 1.708 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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“A subtle but devastating tale of two brothers coming of age in 1960s Calcutta . . . The themes of this beautifully written novel may be grand—love, revolution, desertion—but it’s an intimate tale that offers no easy answers.” —Parade
“Compelling . . . beautiful. A family saga that finds its roots in a 1967 Calcutta rebellion [but] extends its reach to present-day Rhode Island. The long-awaited follow-up to her ravishing first novel, The Namesake, justifies its lengthy gestation. The story develops like a rip in a piece of fabric that keeps tearing: a gripping meditation on absence, alienation and loss . . . Exquisitely written and deeply moving.” —Sophie Harris, Time Out New York

“It’s been a few weeks since I finished The Lowland, and my head and heart are still with the book. The novel moves back and forth in time and takes on different points of view, which allow readers to see how anger and betrayal redound through the generations . . . The Lowland dwells in complex territory [and its] insights point toward an unspoken question: Is it irresponsible—or even criminal—to risk your life for a political cause that may not be realized in your lifetime? The Lowland is a stylistic achievement and marks a shift in Lahiri’s writing. As always, the novel is full of sharp insights about marriage and parenthood, politics and commitment. It is the kind of book that stays with you long after you finish it.” —Julie Hakim Azzam, Pittsburgh Post-Gazette

“Lahiri’s new novel begins in the manner of Flaubert . . . It is her big novel: possessed of historical moment and reach. But for the most part, history is only the element in which the characters’ lives unfold, and this allows Lahiri to exercise her own special talent. She is capable of great elegance, and here, her subject is the failure of relationships between characters, and the ways in which people hold back from living their lives . . . Lahiri writes with great emotional precision [and] moves confidently between different periods in a manner reminiscent of James Salter’s Light Years. Her version of the epic is one in which the ordinary becomes illuminated. She seems to write of families, but actually writes of aloneness, of people avoiding those who are closest to them . . . Her voice [has] unusual, almost old-fashioned moral authority.” —Anjali Joseph, The Times Literary Supplement (UK)

“Stunning. . . Lahiri is an American realist in the manner of John Updike, Philip Roth, and Jonathan Franzen . . . Her magisterial canvases portray the elusive, vexed promises that comprise the mythos of the United States . . . In The Lowland, a multigenerational family story that unfolds in counterpoint between India and the United States, Lahiri emphasizes neither the immigrant’s cultural displacement nor a contest of values between old world and new. Rather, this exquisitely written novel defines the very condition of American life through an exploration of the impossible prospect of belonging . . . The Lowland [is written] with astonishing precision, moving far beyond the terrain of immigrant displacement to map patterns of unity and separation in the smallest moments of daily life [and] painstakingly delineating the defining trait of Americanness: an intricate, dynamic balance between flux and constancy, permanence and transience. The Lowland orchestrates this balance with a tragic lyricism, honoring the United States, and telling its myriad stories of insiders and outsiders alike.” —Urmila Seshagiri, Los Angeles Review of Books
“Exquisite . . . Lahiri emerged upon the literary scene like Athena from the head of Zeus: fully formed and glorious . . . She explores here what she has always explored best: the fragile inner workings of her characters . . . Their true, hidden natures shimmer vibrantly for us. Lahiri compels us to empathize with [them] as they muddle through life, maintaining secrets in some instances and revealing truths in others—all in the name of protecting whatever or whomever they hold most dear. A simple but profound question seems to hover in the air throughout The Lowland: What do you live for? . . . Lahiri continues to transfix us with her subtle explorations of what our sundry hearts want . . . An American master.” —Kevin Grauke, Philadelphia Inquirer
“Lahiri is one of our most beautiful chroniclers of the aching disjunctions of emigration and family. The Lowland features the same poised, haunting, exquisitely effective storytelling that earned her a Pulitzer Prize in 2000 . . . [It] is a family drama about the abiding hold of the past on the present and future, and the dead on the living. It is also a plaintive story about undying love—romantic, brotherly, parental—in which time and the future are at once ‘sustenance’ and ‘predator’ . . . Lahiri shows compassion for all her characters; she writes with deep understanding of family dynamics . . . The Lowland spans decades but never feels rushed or spread thin. Lahiri entrances us with her strong, incantatory storyteller’s voice and vibrant images . . . The novel shimmers. A heartbreaking story of repressed emotions and the essential loneliness of the human condition.” —Heller McAlpin, San Francisco Chronicle

“Lyrical . . . buoyantly ambitious in both story and form. [A] rich landscape . . . surprising language and plotting . . . The memory of Udayan—his fierce politics and his terrible death—has corrosive aftereffects. The Lowland is a novel about the rashness of youth, as well as hesitation and regret.” —Maureen Corrigan, National Public Radio, “Fresh Air”
“Lahiri’s finest work so far, at once unsettling and generous, bow-string taut . . . shattering and satisfying in equal measure. I expect The Lowland will prove her most controversial book to date, for its plot grows out of [a] Maoist-inspired uprising in the late 1960s. Though Lahiri has put [the] politics in, she also wants us to concentrate on the spectators instead of the struggle around the gun. This book is a determinedly apolitical writer’s attempt to deal with an explosive subject. And though she deals more fully here than ever before with a specifically Indian subject, though the book both begins and ends in Calcutta and what happens there will forever mark its characters’ lives, The Lowland is written in an American vein; she seamlessly inserts new people—new manners, mores, material—into a traditional American form. What counts in The Lowland isn’t the fate of society but the individual life and the chance or pursuit of individual happiness; Turgenev among others would recognize the problem she defines. The prose . . . provides something like a continuous present, pointillist and monumental at once, as though carved . . . Uncompromising and yet clear—carries a note of accessible distinction.” —Michael Gorra, The New York Review of Books

“Captivating, compelling . . . Lahiri came onto the literary scene like a blazing comet, [writing] brilliantly about the complex intergenerational relationships and connections in all families; about the internal turmoil for children of immigrants, trying to meet their own and their parents’ expectations; and the challenging search for identity, among parents as well as children. [In The Lowland], she adds political history and philosophy, even a dash of science, and they spice up her already heady concoction. Most importantly, she makes the characters live inside the reader’s head . . . maintaining an edge of mystery: Why did they take a certain path? How did they really react to a traumatic event? What have they kept hidden from everyone, even themselves? And how has a long-ago pain affected so many of their personal interactions? When the answers to these questions are fully revealed, they are often startling, heartrending, and illuminating, touching some inner core of human nature . . . Lahiri’s evocative descriptions of landscapes are memorable, [and] she can pinpoint the significance of a gesture so precisely that it makes you pause to savor it . . . Reading The Lowland is like listening to a lush and intense piece of classical music . . . Lahiri’s writings teach us how to live.” —Johnette Rodriguez, The Providence Phoenix

“Gorgeous . . . With a story spanning generations and continents, The Lowland is epic in scope, but, through sheer technical wizardry, Lahiri also creates a story shimmering with the interplay of time and memory. The intimate, close-up look at the characters in India, where small gestures reveal everything, gradually gives way to a wide-angled and panoramic view, as though the narrative camera zooms back to encompass the vast American backdrop while moving through time . . . Unexpected and ambitious, full of hope and longing. A novel to savor—beautiful, ambitious, complex.” —Jeanette Zwart, Shelf Awareness

“Graceful and steady . . . devastatingly precise . . . Lahiri [writes with] ruthless clarity . . . The Lowland continues Lahiri’s career-long study of the tendrils that grow up in canyons [between characters], that intertwine and bind people to one another through responsibility and dependency, love and guilt. [Lahiri is] anchored firmly as a great American writer.” —Jennifer Day, Chicago Tribune

“Powerful . . . Scene[s] stop you dead in your tracks and demand your all-consuming attention. Lahiri’s prose [is] the most beautiful ever to be put on paper; it memorably snakes and fumes the way smoke would if it were coming from your house on fi...

Über den Autor und weitere Mitwirkende

Jhumpa Lahiri is the author of three previous works of fiction: Interpreter of Maladies, The Namesake and, most recently, Unaccustomed Earth. A recipient of the Pulitzer Prize, a PEN/Hemingway Award, the Frank O’Connor International Short Story Award and a Guggenheim Fellowship, she was inducted into the American Academy of Arts and Letters in 2012.

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5 von 5 Kunden fanden die folgende Rezension hilfreich Von Felix Richter TOP 100 REZENSENT am 30. Oktober 2014
Format: Taschenbuch Verifizierter Kauf
Ein Geständnis vorneweg: "The Lowland" ist das erste Buch von Jhumpa Lahiri, das ich gelesen habe. Deshalb kann ich nicht in den Chor derer einstimmen, die (vor allem auf beklagen, dass es bei weitem nicht die Qualität ihrer früheren Werke erreicht, vor allem nicht des ersten, inzwischen verfilmten Romans "The Namesake".

Die Geschichte führt uns vom Kalkutta der Zeit kurz nach der Unabhängigkeit Indiens bis ins heutige Rhode Island. Zwei Brüder, der ältere, vernünftigere, etwas langweilige Subhash und der jüngere, wilde, charismatische Udayan sind unzertrennlich. Erst mit dem Eintritt ins College beginnen sich ihre Wege zu trennen; Subhash geht schließlich als Student in die USA, Udayan bleibt in Kalkutta und schließt sich einer maoistischen Untergrundbewegung an. (Wer sich in indischer Geschichte nicht so gut auskennt, wird ein wenig über Folgen der Spaltung des Landes 1947 erfahren und eine ganze Menge über die Naxalitenbewegung, die in den 60er Jahren als Bauernaufstand begann und bis heute mit blutigen Terrorakten die Staatsmacht bekämpft, die wiederum mit exzessiver Polizeigewalt dagegen hält.)

Und es ist die Geschichte von Gauri, der hochbegabten, unkonventionellen Philosophiestudentin, die von Udayan und seinen Überzeugungen fasziniert ist. Dass die beiden Freigeister heimlich heiraten, verletzt seine traditionsbewussten Eltern zutiefst, was das Zusammenleben unter einem Dach nicht leichter macht. Und dann steht eines Tages die Polizei vor der Tür...
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3 von 3 Kunden fanden die folgende Rezension hilfreich Von Jürgen Funke am 26. August 2014
Format: Taschenbuch Verifizierter Kauf
Jhumba Lahiri novel “The Lowland” is the story of two brothers raised in Calcutta. Udayan is the rebellious one seemingly courageous who becomes a part of the then newborn Naxalite movement in contrast to Subhash the older one who acts reasonably and humanely. In contrast to his brother he leaves home and picks a scientific career in Rhode Island (US) in the field of oceanography.
The power of the book is Lahiri's calm and unperturbed glance at the dilemma Subhash is caught in after Udayan's execution in the street by the police in the face of Udayan's family which unfolds in the course of the book. The story is told from varying perspectives leaving out periods which are then reflected in the following episode from a different angle.
Lahiri story is never beside the point yet takes in the circumstances of each period be it American (the anti-Vietnam movement), Indian (the Naxalite movement and its repression) or global (the Net, patchwork families).
Even though the novel is about politics, its moral core is timeless and relevant. It shows the process of its characters being uprooted and alienated from their families, from their own human nature. This process, however, is balanced by changes that develop in the characters later lives. So the novel leaves it open how we can change injustice without acting immorally.

Even though I was tempted to develop the feeling that the story did not move on I came to appreciate that the characters were capable of small changes in their lives after having come to terms with their past.
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5 von 6 Kunden fanden die folgende Rezension hilfreich Von am 26. Februar 2014
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Lahiri schreibt psychologisch dicht, einfühlsam, und wahrt dabei immer eine einfache, fast lakonische, unaufgeregte Sprache, die ich auch im englischen Original leicht lesen konnte. Wichtige Elemente der Geschichte sind plötzliche Beziehungsabbrüche, Einsamkeit und die Nachwirkungen politischer Gewalt. Interessant wirken kurze, unaufdringliche Ausflüge in die Geschichte und in die Wissensgebiete der Buchfiguren, so etwa in Philosophie, Ökologie und die indische Naxalite-Bewegung; erlesenes Essen steht hier weniger im Vordergrund als in anderen Lahiri-Veröffentlichungen.

Damit kenne ich nun die vier bisherigen Lahiri-Bücher; alle sind exzellent, doch dieses hier ist relativ das Schwächste. So klingt Lahiri mitunter schon etwas zu "achtsam", zu elegisch säuselnd, betulich melancholisch; es gibt keine Ausrufezeichen, keinen Humor, keine direkten Dialoge. Und während ihre Stimme sicherlich wie oft beschrieben karg und zurückgenommen klingt, so fehlt ihr doch der bestechende Minimalismus Hemingways oder des mittleren V.S. Naipaul.

Einige Elemente der Konstruktion schwächen den Gesamteindruck:
- Lahiris Geschichte zieht sich über fast 70 Jahre, sie schildert vier Generationen. Die Hauptfiguren treibt es zeitweise auseinander und dann fransen die einzeln fortgesetzten Schicksale zeitweise ins Beliebige, Belanglose.
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