- Taschenbuch: 432 Seiten
- Verlag: Faber and Faber; Auflage: New edition (4. September 2003)
- Sprache: Englisch
- ISBN-10: 0571214541
- ISBN-13: 978-0571214549
- Größe und/oder Gewicht: 19,2 x 12,6 x 2,6 cm
- Amazon Bestseller-Rang: Nr. 573.706 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
From Booklist
Canadian Findley, many of whose novels have been runaway best-sellers in his home country, moves from his noirish preoccupations to write what looks at first blush like a bright theatrical mystery set at the Shakespeare Festival in Stratford, Ontario. Yet Findley doesn't completely succumb to the conventions of the traditional off-stage murder mystery. He is clearly after bigger fish in this multileveled mix of genre novel, character study, and something that looks a lot like magic realism. Highly dreamlike, bizarre occurrences twist his characters' lives into ever more fantastic shapes. A broken phone connection tears apart the life of a young married couple, the Kincaids, who seem to have everything going for them: the husband, Griffin, is coming into his own as a Shakespearean actor; the wife, Jane, is completely caught up in marriage and set design. The disconnection, in true Shakespearean fashion, leads to missed meetings and revealed alibis that in turn lead to discoveries of betrayal, jealousy, and murder. At times, the novel's escapes into the fantastic gum up the plot, but, overall, this is highly entertaining stagecraft. Connie Fletcher
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From Library Journal
In this tenth novel, best-selling Canadian author Findley (Pilgrim) depicts the disintegration of a family against the backdrop of the Stratford, Ontario, Shakespeare Festival. Griffin and Jane Kincaid live with their son, Will, in idyllic Stratford. Griffin, a repertory theater actor, discovers that his future success may depend on his response to homosexual overtures by the theater's director. Griffin is ambitious, but the security afforded by his wife's large inheritance suggests that something other than professional hunger motivates his fall onto the casting couch. Jane's simultaneous infatuation with Milos, the handsome Canada Bell repairman who arrives to mend a broken phone line, comes when she is most vulnerable. Yet this response rings false from a woman supposedly struggling to keep her marriage intact. Subtle character connections are interesting, but while diverting, subplots concerning the serial murders of women in neighboring towns and the domestic strife rampant in the family life of minor characters ultimately seem extraneous. For larger collections. Margee Smith, Grace A. Dow Memorial Lib., Midland, MI
Copyright 2002 Cahners Business Information, Inc.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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14 Rezensionen
4 von 4 Kunden fanden die folgende Rezension hilfreich
Work Indeed
6. Februar 2002
Format:Gebundene Ausgabe
Not one of Timothy's strongest books. There's a lot of material in Spadework with several little stories being carried through. But I got the sense that some of the more interesting ones were left underdeveloped. As the book finished, plot lines were wound up too quickly is if to make way for the six o'clock news. A slight disappointment but an engrossing backstage peak at the theatre scene.
3 von 3 Kunden fanden die folgende Rezension hilfreich
One wonders why Findley wrote this book.
8. März 2002
Format:Gebundene Ausgabe
From a writer whose publicity bills him as "Canada's greatest living writer," this book is both a surprise and a disappointment. Telling the story of a group of participants in Ontario's Stratford Festival, the book includes many subplots, all dealing with some issue of love--love from the past, young love, new love, love of children, homosexual love, thwarted love, love of self, love of career--and the extent to which the characters are willing to sacrifice for it.
While some of the dialogue, such as that in an early birthday party scene, pops and crackles, as one would expect in the writing of a playwright, other aspects of the book creak and groan, weighed down by irrelevant details and a shocking number of cliches. Ten pages into the book, Jane comments that she is the luckiest girl in the world. "I've got everything I wanted," she says. One is not surprised, then, when fate decides to teach her a lesson in the ensuing 400 pages.
The personal conflicts which evolve are too shallow to allow for the illumination of great themes, and the characters are one-dimensional, prone to observations one has read many times in many other novels. Upon seeing the Bell telephone man, Jane decides, "He was the most beautiful man she had ever seen. But his beauty was more than physical. There was something...indefinable." Her psychiatrist has a print of Paul Klee's "Scholar 1933" on the wall, "his inner eye, his daily reminder...that life was full of endless mystery and that nothing was known." An outdoor love scene takes place against a background with "not a single cloud. And yet...There was thunder." And it is difficult to take seriously a reference to "the voice of a man she barely knew, but a man she also knew she loved."
For those who enjoy sentimental stories and can do not mind cliches, this novel provides a look at life in a theater company and a great many love stories, which end, literally, with "the sound of water flowing over the dam." Mary Whipple
While some of the dialogue, such as that in an early birthday party scene, pops and crackles, as one would expect in the writing of a playwright, other aspects of the book creak and groan, weighed down by irrelevant details and a shocking number of cliches. Ten pages into the book, Jane comments that she is the luckiest girl in the world. "I've got everything I wanted," she says. One is not surprised, then, when fate decides to teach her a lesson in the ensuing 400 pages.
The personal conflicts which evolve are too shallow to allow for the illumination of great themes, and the characters are one-dimensional, prone to observations one has read many times in many other novels. Upon seeing the Bell telephone man, Jane decides, "He was the most beautiful man she had ever seen. But his beauty was more than physical. There was something...indefinable." Her psychiatrist has a print of Paul Klee's "Scholar 1933" on the wall, "his inner eye, his daily reminder...that life was full of endless mystery and that nothing was known." An outdoor love scene takes place against a background with "not a single cloud. And yet...There was thunder." And it is difficult to take seriously a reference to "the voice of a man she barely knew, but a man she also knew she loved."
For those who enjoy sentimental stories and can do not mind cliches, this novel provides a look at life in a theater company and a great many love stories, which end, literally, with "the sound of water flowing over the dam." Mary Whipple
5 von 6 Kunden fanden die folgende Rezension hilfreich
Slapdash
9. April 2002
Format:Gebundene Ausgabe
Timothy Findley's earlier novel, "Famous Last Words" is a very strange and disturbing book. The question is whether "Spadework" is a shift into a more traditional kind of storytelling for this Canadian author, or whether it is in fact stranger than anything else he's done. That's what's hard to decide.
As opposed to being set in Europe, where Findley always seems finds the smell of rot just below the surface, "Spadework" is set in Canada, in the fresh, bonnie territory of the Stratford Shakespeare Festival. Jane designs props, and her husband Griffin is a promising actor. Findley knows theater well, and the setting is one of the novel's strengths. The art of theater is lovingly explored--the building of props, the use of lighting to create an environment- all the individual elements that make the artistic whole.
Ambitious Griffin suddenly leaves Jane and their son for an affair with the theatre's artistic director. Distraught, Jane is drawn to a Bell Canada lineman who disconnects her telephone, interrupting a phone call vital to the plot. Griffin gets the roles he wants for the next theatrical season and returns to Jane. She accepts him back. Does she really think anything will be the same again, or that his return can mend the destruction of their son's world? Why would she want this man back anyway when he has proven that his family is far, far down the list of his priorities? Is this an unbelievable ending, or is "Spadework" Findley's creepiest book of all?
It is my appreciation of Findley's earlier work that makes me want to give him the benefit of the doubt. The truth is that unless you put some work into coming up with alternative scenarios, this is a pretty haphazard book. It lacks the kind of quirk Findley excels at, and as a conventional novel of a family in crisis "Spadework" is a flop. It is a readable but mediocre outing by a writer from whom we are accustomed to getting only the best.
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