The Human Stain: A Novel American Trilogy (3) (Vintage International): Amazon.de: Philip Roth: Englische Bücher

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Dieser Artikel: The Human Stain: A Novel American Trilogy (3) (Vintage International) von Philip Roth Taschenbuch EUR 11,80

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American Pastoral von Philip Roth Taschenbuch EUR 10,40

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Portnoy's Complaint. (Vintage) von Philip Roth Taschenbuch EUR 10,00

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Taschenbuch: 384 Seiten
Verlag: Vintage; Auflage: Reissue (8. Mai 2001)
Sprache: Englisch
ISBN-10: 0375726349
ISBN-13: 978-0099422136
Gr��e und/oder Gewicht: 20,5 x 13,3 x 2 cm

Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen Alle Rezensionen anzeigen (47 Kundenrezensionen)

Amazon Bestseller-Rang: Nr. 165.525 in Englische Bücher (Siehe Top 100 in Englische Bücher)

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Athena College was snoozing complacently in the Berkshires until Coleman Silk--formerly "Silky Silk", undefeated welterweight pro-boxer--strode in and shook the place awake. This faculty dean sacked the deadwood, made lots of hot new hires, including Yale-spawned literary-theory wunderkind Delphine Roux, and irritated so many people for so many decades that now, in 1998, they have all turned on him. Silk's character assassination is partly owing to what the novel's narrator, Nathan Zuckerman, calls "the Devil of the Little Place--the gossip, the jealousy, the acrimony, the boredom, the lies".

But shocking, intensely dramatised events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication", and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibility, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble", and a melancholy voluptuousness. "I'm back in the tornado", Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.

In a short space, it's tough to convey the gale-force quality of Silk's rants, or the odd effect of Zuckerman's narration, alternately retrospective and torrentially in the moment. The flashbacks to Silk's youth in New Jersey are just as important as his turbulent forced retirement, because it turns out that for his entire adult life, Silk has been covering up the fact that he is a black man. (If this seems implausible, consider that the famous New York Times book critic Anatole Broyard did the same thing.) Young Silk rejects both the racism that bars him from Woolworth's counter and the Negro solidarity of Howard University. "Neither the they of Woolworth's nor the we of Howard" is for Coleman Silk. "Instead the raw I with all its agility. Self-discovery--that was the punch to the labonz.... Self-knowledge but concealed. What is as powerful as that?"

Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband (a sketchy guy who seems to have wandered in from a lesser Russell Banks novel), scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux is intriguingly (and convincingly) nutty, and any number of minor characters pop in, mouth off, kick ass, and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch .

Amazon.co.uk

Athena College was snoozing complacently in the Berkshires until Coleman Silk strode in and shook the place awake. This faculty dean sacked the deadwood, made lots of hot new hires, including Yale-spawned literary-theory wunderkind Delphine Roux, and pissed off so many people for so many decades that now, in 1998, they've all turned on him. Silk's character assassination is partly owing to what the novel's narrator, Nathan Zuckerman, calls "the Devil of the Little Place--the gossip, the jealousy, the acrimony, the boredom, the lies". But shocking, intensely dramatised events precipitate Silk's crisis. He remarks of two students who never showed up for class, "Do they exist or are they spooks?" They turn out to be black, and lodge a bogus charge of racism exploited by his enemies. Then, at 71, Viagra catapults Silk into "the perpetual state of emergency that is sexual intoxication", and he ignites an affair with an illiterate janitor, Faunia Farley, 34. She's got a sharp sensibility, "the laugh of a barmaid who keeps a baseball bat at her feet in case of trouble," and a melancholy voluptuousness. "I'm back in the tornado," Silk exults. His campus persecutors burn him for it--and his main betrayer is Delphine Roux.

The flashbacks to Silk's youth in New Jersey become just as important as his turbulent-forced retirement when he reveals a secret that he has been hiding his entire adult life and Silk's contradictions power a great Philip Roth novel, but he's not the only character who packs a punch. Faunia, brutally abused by her Vietnam vet husband, scarred by the death of her kids, is one of Roth's best female characters ever. The self-serving Delphine Roux is intriguingly (and convincingly) nutty, and any number of minor characters pop in, mouth off and vanish, leaving a vivid sense of human passion and perversity behind. You might call it a stain. --Tim Appelo -- Dieser Text bezieht sich auf eine vergriffene oder nicht verf�gbare Ausgabe dieses Titels.

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Einleitungssatz
IT WAS in the summer of 1998 that my neighbor Coleman Silk-who, before retiring two years earlier, had been a classics professor at nearby Athena College for some twenty-odd years as well as serving for sixteen more as the dean of faculty-confided to me that, at the age of seventy-one, he was having an affair with a thirty-four-year-old cleaning woman who worked down at the college. Lesen Sie die erste Seite

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A disappointing end to a trilogy. 24. Mai 2000

Von "shnootre"

Format:Gebundene Ausgabe

Philip Roth's Human Stain shocked me, not with its subject-matter, which I think is by now well known, but by its often amateurish construction. If I didn't know the author's name, I would think I was reading a first novel, one that showed promise but whose author clearly needed time to grow. The characters in this book feel more like ideas than humans. We are told by the author, or rather the narrator, Nathan Zuckerman, what they are like rather than being shown. They carry none of the intense aura of flesh and blood that such recent Roth creations as Merry Levov and Mickey Sabbath did. His main villains are, in fact, nearly ludicrous caricatures: an angry Vietnam veteran suffering from PTSD, and an angry, lonely, 29-year-old female professor of French. While the plot is quite interesting, I never felt any kinship with any of the actors in the drama, and thus found it a struggle to continue reading at times. Roth, of course, can still weave together lyrical, beautful paragraphs, but in this particular case I often found myself wondering to what end. This is surprising to me, particularly as I count Roth among my favorite authors, and consider his work of the nineties to be by and large brilliant. I particularly loved American Pastoral, Operation Shylock, and Patrimony, and also had a warm spot for Sabbath's Theater. I Married A Communist seemed a drop-off to me, but nowhere nearly as distressing as that of the Human Stain. Here's hoping a better novel comes out in 2001.

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Angry indictment on contemporary society. 3. Januar 2002

Von mikjosefsson@yahoo.de

Format:Taschenbuch

The sheer brilliance of Roth's prose is a pleasure in itself. It rolls lightly and naturally. There is nothing forced and viscous about the flow and none of the I'm-consciously-trying-to-(over)describe-things-as-a-writer syndrome. The disgraced former college dean Coleman Silk is the protagonist of the novel. He is an incognito escapee from his original African American background and its defining forces. He has been living for decades as his own creation, a white Jew of Russian origin, and has had a highly successful academic career. In achieving his goals he has been single-minded to the point of unscrupulousness. His wife and children are unaware of his true identity. His career has ended in ignominy following false accusations of racism. Only Silk can appreciate the cruel irony of this. His wife dies of a stroke due to resulting stress. He starts an affair with a poor (apparently) illiterate woman half his age and begins a life alienated from his hitherto self-made one. Silk had steamrollered numerous colleagues in order to achieve what he wanted as a dean of faculty and so they jump on the bandwagon when the opportunity presents itself to avenge themselves on him. The newly-established virtues of the age are reduced to instruments of politicking in the process. His new relationship becomes the focus of yet another inquisition. Roth lashes out at the falseness of the new conventions and political correctness. Everything ends as an ironic tragedy. The theme seems to be the ultimate futility of striving for the real thing. There is a multitude of characters and some remain somewhat underdeveloped. Maybe this itself is part of the message i.e. a person's knowledge of himself/herself and others is destined to be incomplete and superficial and can be based only on the 'evidence' presented. Les Farley, for example, is like something cobbled together in a DIY store. Overall though the book is highly recommendable.

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Secrets and lies in the search for self 12. Juni 2000

Von "scottish_lawyer"

The Human Stain is not the best of recent Roth (but then there are few contemporary novels from whatever country as impressive as Sabbath's Theater or American Pastoral). However, it is confirmation that Roth is one of the most necessary of contemporary writers.

This concludes a trilogy of loosely related novels taking a personal examination of important events from post WWII American history. Each is narrated by Nathan Zuckerman (Roth's altar ego), and again Zuckerman is present, but - generally - not intrusive.

Set against the backdrop of the Lewinsky affair, Coleman's own fall from his position as Professor of Classics and dean of a department for a "racist" remark is a tragedy, and filled with anger, on behalf of his friend, Zuckerman traces Silk's life, and his final days (including an affair with a cleaner at the University).

Roth's writing has a passion. His prose may not be smooth and elegant, but there is real emotion underpinning it. Anger at the nature of modern society, the dumbing down, the compartmentalising of people.

Roth's characters are more rounded than in the first Zuckerman trilogy. His subjects now seem real. His writing about a writer, and his problems writing seems to be behind him.

This is a book about learning, about ignorance, about dignity, about shame.

It can be contrasted with the cool prose of JM Coetzee's Disgrace, winner of the Booker Prize in the UK. This novel looks at the fall of an academic after an affair with a student. It is a well written but cold novel. No-one can accuse Roth/Zuckerman of writing cold fiction.

The novel is uneven, but there is much that is poetic in the midst of the righteous anger. Also, in Les Farley, and Ernestine Silk Roth has created two of his most memorable characters.

Many years ago Roth wrote a hilarious baseball novel, The Great American Novel. Roth's recent work (beginning I feel with Deception) has been of an extremely high quality. And it is with this body of work, rather than in that thirty year old fiction, that Roth has finally caught that mythical beast. The cumulative work of the new Zuckerman trilogy and Sabbath's Theater truly are Great American Novels.