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The Rights Of Desire
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Amazon.co.uk
Andre Brink's The Rights of Desire concerns a retired librarian's infatuation with his young lodger. Ruben Olivier, as the ageing lecher, is resolutely unsympathetic. He pathetically spends weeks sifting through the dust in his basement because the beloved's navel ring has fallen through a crack in the floorboards. When Tessa, the lodger brings home a black man, Zolani, he nearly has a heart attack, musing after he has recovered his breath: "It was unworthy and I knew it. Yet how could I not wonder about it?--Zolani is welcomed into her bed but I am still denied ... her exasperating and prodigal beauty, distributed like alms among the poor. Only I remained denied." His relationship to literature and music is similarly self-aggrandizing and precious: "I went to Spain with Don Quixote--I still go every year in the summer--and to St Petersburg with Dostoevsky every winter. In between, I go to Paris with Balzac, or with Zola if I feel up to it." It is as difficult to like Tessa, who, in addition to being a little bit slutty and nutty is also a compulsive liar.
Cluttered around their doomed but mutually sustaining love affair is the atrocious exhibition of the white post-apartheid narration of the suburbs. Olivier's best friend is brutally murdered and failing to recognise the crumpled pile of rags on the side of the road Olivier drives by. Tessa narrowly escapes being gang raped in the Newlands forest. The novel equivocates between claiming that all this sex and violence is a function of contemporary social collapse or may simply be an expression of the timeless beauty and violence of Cape Town. Woven into the story of Ruben and Tessa is the story of Antje of Bengal, a 17th-century slave girl, whose ghost haunts the house and the story of Magrieta, Olivier's housekeeper, who is forced to flee her home after an episode of township violence. At times over-ripe, this novel is at it most compelling in its characterisation of this pair. --Neville Hoad -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From Booklist
The eminent South African author Brink writes about an elderly white Cape Town intellectual, Ruben, who has a crush on a young woman, Tessa, who is a boarder in Ruben's historic family house, which is also home to the ghost of a slave woman, Antje, who lived there more than 300 years ago. The ghost communicates with all of the people in the house, but especially with the elderly housekeeper, Magrieta, who brings the violence and terror of her township experience into Ruben's sheltered life. He's a librarian (or was, until he was retired early), and he weaves quotes and meditations from everywhere into his obsession for freewheeling Tessa. His ruminations about his "desire" get tedious, but his love is passionate and tender as he plays the roles of father, friend, teacher, student, and would-be lover with Tessa. Best of all, there's a real plot here, with secrets of love, guilt, and betrayal that reveal the power as well as the suffering of women with no voice. Hazel Rochman
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.
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Die hilfreichsten Kundenrezensionen
Format:Taschenbuch
I found the story a bit on the chick-flick side. Nevertheless, it seems to be a very good account of today's "New South Africa" and is very interesting in this respect.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
6 Rezensionen
7 von 9 Kunden fanden die folgende Rezension hilfreich
Compulsively readable, thematically complex.
24. März 2001
Format:Gebundene Ausgabe
It is a measure of Brink's genius that this compulsively readable novel seems so straightforward, at least at first, when one is deeply engrossed in the twists and turns of the main characters' changing relationship. Primarily a love story, it chronicles the complex, sometimes masochistic, interaction between Ruben Olivier, a lonely former librarian in his sixties, and Tessa Butler, an attractive free spirit, almost thirty, whom he has taken into his home and who claims to have deep feelings for him. But while Tessa enlivens his days with her attentions and conversations, she also toys with him, flaunting her numerous relationships with other men at night. As Tessa settles in, Ruben finds his once-orderly and peaceful world shattered, the memories with which he has consoled himself after his wife's death destroyed, and his view of himself and the world permanently changed.
The book is deceptively many-layered, for while Brink is exploring rights and desires in the relationship of Ruben and Tessa, he is also simultaneously exploring rights and desires in a political sense. In the newly independent South Africa, the formerly oppressed black majority is now in power and asserting itself. In the confusion of the power transfer, many young men, apparently feeling that "might makes right," have formed marauding gangs, attacking, raping, killing, and essentially doing whatever they desire, their only motivation being revenge for past injustices. No one is safe, and Ruben and Tessa, who had hitherto ignored the danger even when it struck close to home, find that they are not immune as they face a defining moment of terror.
The atmosphere of the novel is dark, the mood of violence is palpable, and a sense of foreboding lies heavily over all. The relationship of Ruben and Tessa is unsettling, strange, perhaps even clinically sick, but it is powerfully seductive in a Nabokovian way. The ghost of a slave, Antje of Bengal, 300-years-old, walks the house, haunts the inhabitants, and keeps them and the reader constantly on edge. Throughout the action, Brink's language is so fluid, his first-person narrative so smooth, and his sense of timing so keen that his style achieves an elegance few others could achieve, given the sometimes bizarre subject matter. This is a thematically complex tale of many interconnected relationships, and it's fascinating. Mary Whipple
The book is deceptively many-layered, for while Brink is exploring rights and desires in the relationship of Ruben and Tessa, he is also simultaneously exploring rights and desires in a political sense. In the newly independent South Africa, the formerly oppressed black majority is now in power and asserting itself. In the confusion of the power transfer, many young men, apparently feeling that "might makes right," have formed marauding gangs, attacking, raping, killing, and essentially doing whatever they desire, their only motivation being revenge for past injustices. No one is safe, and Ruben and Tessa, who had hitherto ignored the danger even when it struck close to home, find that they are not immune as they face a defining moment of terror.
The atmosphere of the novel is dark, the mood of violence is palpable, and a sense of foreboding lies heavily over all. The relationship of Ruben and Tessa is unsettling, strange, perhaps even clinically sick, but it is powerfully seductive in a Nabokovian way. The ghost of a slave, Antje of Bengal, 300-years-old, walks the house, haunts the inhabitants, and keeps them and the reader constantly on edge. Throughout the action, Brink's language is so fluid, his first-person narrative so smooth, and his sense of timing so keen that his style achieves an elegance few others could achieve, given the sometimes bizarre subject matter. This is a thematically complex tale of many interconnected relationships, and it's fascinating. Mary Whipple
6 von 8 Kunden fanden die folgende Rezension hilfreich
This book is deceptively about South Africa
14. Juli 2001
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
and while I may be accused of missing the point, I found the relationship between Ruben and Tessa extremely annoying. I bought the book thinking it would deal more with the South Africa of today, but even that was trite, with violence and corruption the two prevalent elements. As I read on, Ruben became a joke of an old man and Tessa a sadistic tease. I did enjoy A Dry White Season and why this author has decided to sink into the musings of an old man rather than explore more about South Africa and the myriad layers of its society after apartheid is a mystery to me. I must admit that I did read through it avidly and with some anticipation, assuming there would be some deeper meaning. If there is, I will have to have it explained to me because I didn't find it. It is well written and easy to read but certainly no more than that. One would be advised to read Disgrace by J. M. Coetzee instead.
1 von 1 Kunden fanden die folgende Rezension hilfreich
The Rights of Revenge.
11. Juni 2005
Format:Gebundene Ausgabe
This is the first book I read for Andrea Brink and probably the 1st ever book for a South African writer, if my memory is still intact( Alan Paton being the exception).
This is probably one of the most complex and daunting novels that have been written between 2000 and 2005, and its complexity lies deep within the ethos of the issues and subjects tackled. It is not merely a novel about post apartheid south Africa, but constitutes a conscience and often bloody account of not only South Africa from 1930, but of human nature in general. It's a narration of fanatical Christianity, of the despair and hope of many Boers, of the often harsh daily realities that are often ignored or merely trespassed in modern historical narration of that historic epoch. The story centers around two main characters Ruben and Tesse; the former is a retired librarian, who has witnessed the rise and decline of various South African generations and political ploys, while the later is a young 30sh old bohemian, who for better or worse is living the turbulences of a changing world and society. Their lives intertwine and are linked for a short period of time, yet despite the brevity of their relation, they both share an intenseness that renders returning to a state of normalcy quite unbearable or unachievable. The energy and youth of Tesse forces the main male protagonist to confront not only his present old age, but also to soar back in time to his lonely childhood, on a desolate farm, his initiation into adulthood, his melancholy and often hypocritical marriage, that was marred by dismay and deception, to his current status as an old man, living in an empty house, surrounded by notes never to be completed and articles never to be written, with the sole presence of an ancient ghost murdered 200 hundred years ago. Perhaps this ghost is only a reflection of all the occupants miseries, and phantoms of sadness. Anjtee even though witnessed by various generations of passers by in the house, is merely a reflection of the conflict between human desire, sin, a need to reconcile differences and simply move on.
This is quite a complex novel, multiply layered and quite extravagant in both style and manner, nevertheless, it surely needs some careful reading and contemplation.
This is probably one of the most complex and daunting novels that have been written between 2000 and 2005, and its complexity lies deep within the ethos of the issues and subjects tackled. It is not merely a novel about post apartheid south Africa, but constitutes a conscience and often bloody account of not only South Africa from 1930, but of human nature in general. It's a narration of fanatical Christianity, of the despair and hope of many Boers, of the often harsh daily realities that are often ignored or merely trespassed in modern historical narration of that historic epoch. The story centers around two main characters Ruben and Tesse; the former is a retired librarian, who has witnessed the rise and decline of various South African generations and political ploys, while the later is a young 30sh old bohemian, who for better or worse is living the turbulences of a changing world and society. Their lives intertwine and are linked for a short period of time, yet despite the brevity of their relation, they both share an intenseness that renders returning to a state of normalcy quite unbearable or unachievable. The energy and youth of Tesse forces the main male protagonist to confront not only his present old age, but also to soar back in time to his lonely childhood, on a desolate farm, his initiation into adulthood, his melancholy and often hypocritical marriage, that was marred by dismay and deception, to his current status as an old man, living in an empty house, surrounded by notes never to be completed and articles never to be written, with the sole presence of an ancient ghost murdered 200 hundred years ago. Perhaps this ghost is only a reflection of all the occupants miseries, and phantoms of sadness. Anjtee even though witnessed by various generations of passers by in the house, is merely a reflection of the conflict between human desire, sin, a need to reconcile differences and simply move on.
This is quite a complex novel, multiply layered and quite extravagant in both style and manner, nevertheless, it surely needs some careful reading and contemplation.
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