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From Booklist
Of course novelist Markson's latest book is a novel. What else could this rueful combination of fact and fictionalized self-portraiture, this book-length list of odd bits of trivia about artists' lives, most of which perversely focuses on their deaths, be called? The "Writer," as the compulsive, hypochondriac narrator refers to himself, has amassed this quirky collection of seemingly random yet wittily connected data in lieu of writing, an activity he's finding difficult, if not repugnant, what with all his headaches and general malaise. Terse and stoic, he's all over the map, tossing off bulletins about Sappho, Fitzgerald, Blake, Picasso, Flaubert, Emerson, and Mahler; relishing snide remarks artists make about each other; and periodically alluding to his desire to write a novel with no characters, plot, or setting, a mission he slyly accomplishes. Mischievous, funny, and smart, Markson will greatly amuse readers who share his fascination with art and the clash between the sublime and the ridiculous that fractures every artist's life. Donna Seaman
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
Synopsis
This is Not a Novel is a "novel" like no other, with the possible exception of the author's own Reader's Block, which Anne Beattie hailed as "a work of genius.". This is Not a Novel is a highly inventive work that drifts "genre-less" somewhere in between fiction, nonfiction, and psychological memoir. In the opening pages a narrator, called only "Writer," announces that he is "weary unto death of making up stories," not to mention inventing character sand contemplating plot, setting, theme. Yet the writer is determined to seduce the reader into turning pages-and to "get somewhere," nonetheless. What follows are pages crammed with astonishingly fascinating literary and artistic anecdotes, quotations, and cultural curiosities. All this is leavened with Markson's deliciously ironic wit and laughter, so that when the writer does indeed finally get us "somewhere," it's the journey that has mattered, not the arrival.
In diesem Buch
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Einleitungssatz
Writer is pretty much tempted to quit writing. Lesen Sie die erste Seite
Buchdeckel | Copyright | Auszug | Rückseite
Writer is pretty much tempted to quit writing. Lesen Sie die erste Seite
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10 von 10 Kunden fanden die folgende Rezension hilfreich
This Is Not A Review
22. Mai 2001
Format:Taschenbuch
How do you review something when you're not quite sure what it is to begin with?
This Is Not A Novel is, in fact, not a novel but what it is is not entirely clear. Throughout his work, Markson runs through details about how famous literary figures have died, what philosophers believed and what artists said. There are no characters except, perhaps, for the elusive "Writer". There is no plot. Nothing thrilling happens. And yet its amazing to me how drawn in to the book I was.
Bottom line: I don't know what it was but I'm glad I read it. Experimental fiction can either be disastrous (see The Castle of Crossed Destinies by Italo Calvino) or monumentally successful (see 253: The Print Remix by Geoff Ryman) - there's usually no middle ground. This Is Not A Novel definitely fits into the latter category.
6 von 6 Kunden fanden die folgende Rezension hilfreich
What's the problem?
5. Oktober 2002
Format:Taschenbuch
This reads like a companion volume to "Reader's Block." Like the former book, this is a compilation of often fascinating, curious and humanizing facts and quotations of great artists, writers, philosophers, indirectly limning the "author's" concerns with morality, health, and fame. Irrelevant to its enjoyment are considerations of (a)the amount of work entailed in creating it; (b)its nature as novel or anti-novel; (c)the degree to which all its entries are news ("Wagner was an anti-Semite" was not intended to enlighten the reader, but in that case to reflect the "author's" consciousness); (d) the degree to which the form of the book is ground-breaking. Perhaps because I am in a similar situation to the author's in my own career, I identified and found a wry humor in the proceedings, and a genuine modesty in the economy of its style. (Note: There is a bit of "dumbing down" here compared to "Reader's Block", as if Markson [at the bidding of his editor?] didn't quite trust his audience to figure out what he was about and had to spell it out in a few passages, but that can be easily enough overlooked.) For what it is--which is no less than what it attempts to be--it's a very interesting, instructive read, and well-nigh perfect: hence 5 stars.
5 von 5 Kunden fanden die folgende Rezension hilfreich
leer life
21. April 2003
Format:Taschenbuch
One assumes that fans of David Markson's work will not be too disappointed by this latest book. I was not, though I admit I prefer his other writings to this. The book is structured as a sequence of sentences, often anecdotes describing the creative habits and deaths of an artistic pantheon. Sure, some will consider the book pretentious, but part of its glory is the effort of the writer, the central character, if any, who seems to be more of a reader, Markson, perhaps, and who puzzles and tries to be reconciled with his own impending mortality. Aside from the bounty of names, here and there an uncommon star appears, this book takes less cleverness to resolve into a thoughtful experience than other Markson books. Most dazzling, to be sure, is the variant structure of declarative sentences, often taken for granted. Some structures are continued repetitively, others, strikingly, challenge the rhythm the reader establishes. The sequences have the potential to mesmerize the patient and weary the rushed.
Out of all of the books, anecdotes, and sentences a character of sorts appears, who is not terribly interesting, nor completely capable of engaging the world without thinking through reading. The book is filled with curiosities that will jog to recollection details from a life spent reading. For some it is important to criticize what this book is not. Certainly, the style and approach to the writing of this book does not differ radically from the author's others. Perhaps this one is more refined. Perhaps it is repetitive and parodic. I prefer to recommend its observant and playful stories and structures that emerge from the sentences.
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