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Then We Came to the End: A Novel (Taschenbuch)

von Joshua Ferris (Autor) "WE WERE FRACTIOUS AND overpaid ..." (mehr)

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Produktinformation

Taschenbuch: 400 Seiten
Verlag: Penguin (4. Januar 2008)
Sprache: Englisch
ISBN-10: 0141027630
ISBN-13: 978-0141027630
Gr��e und/oder Gewicht: 19,3 x 13 x 2,8 cm

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Amazon.de Verkaufsrang: Nr. 8.409 in Englische Bücher (Die Bestseller Englische Bücher)

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Produktbeschreibungen

Amazon.com

Amazon Best of the Month Spotlight Title, April 2007: It's 2001. The dot-com bubble has burst and rolling layoffs have hit an unnamed Chicago advertising firm sending employees into an escalating siege mentality as their numbers dwindle. As a parade of employees depart, bankers boxes filled with their personal effects, those left behind raid their fallen comrades' offices, sifting through the detritus for the errant desk lamp or Aeron chair. Written with confidence in the tricky-to-pull-off first-person plural, the collective fishbowl perspective of the "we" voice nails the dynamics of cubicle culture--the deadlines, the gossip, the elaborate pranks to break the boredom, the joy of discovering free food in the breakroom. Arch, achingly funny, and surprisingly heartfelt, it's a view of how your work becomes a symbiotic part of your life. A dysfunctional family of misfits forced together and fondly remembered as it falls apart. Praised as "the Catch-22 of the business world" and "The Office meets Kafka," I'm happy to report that Joshua Ferris's brilliant debut lives up to every ounce of pre-publication hype and instantly became one of my favorite books of the year. --Brad Thomas Parsons -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

From Publishers Weekly

Starred Review. In this wildly funny debut from former ad man Ferris, a group of copywriters and designers at a Chicago ad agency face layoffs at the end of the '90s boom. Indignation rises over the rightful owner of a particularly coveted chair ("We felt deceived"). Gonzo e-mailer Tom Mota quotes Walt Whitman and Ralph Waldo Emerson in the midst of his tirades, desperately trying to retain a shred of integrity at a job that requires a ruthless attention to what will make people buy things. Jealousy toward the aloof and "inscrutable" middle manager Joe Pope spins out of control. Copywriter Chris Yop secretly returns to the office after he's laid off to prove his worth. Rumors that supervisor Lynn Mason has breast cancer inspire blood lust, remorse, compassion. Ferris has the downward-spiraling office down cold, and his use of the narrative "we" brilliantly conveys the collective fear, pettiness, idiocy and also humanity of high-level office drones as anxiety rises to a fever pitch. Only once does Ferris shift from the first person plural (for an extended fugue on Lynn's realization that she may be ill), and the perspective feels natural throughout. At once delightfully freakish and entirely credible, Ferris's cast makes a real impression. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. -- Dieser Text bezieht sich auf eine andere Ausgabe: Gebundene Ausgabe .

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WE WERE FRACTIOUS AND overpaid. Lesen Sie die erste Seite

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5.0 von 5 Sternen A Great First Novel, 31. August 2007

Von	Mark Wakely (Lombard, Illinois) - Alle meine Rezensionen ansehen (REAL NAME)

Diese Rezension stammt von: Then We Came to the End (Gebundene Ausgabe)

While Then We Came to the End has been touted for its humor- and it is a funny book- to read it as strictly a spoof of ad agency life would be to diminish what Joshua Ferris has accomplished in his clever novel. Filled with characters that inspire sympathy and revulsion, familiarity and curiosity- often at the same time- this notable first effort captures well what pressure-cooker corporate life can do to the human spirit, no small achievement for any novelist much less a brand new one.

Told from a collective "we" point of view, the characters nevertheless have distinct voices and viewpoints, with their own hopes and desires for life beyond ad life, desires (at times) at odds with their coveted, chosen occupation. Lording over Chicago from their lofty office perches, there's a pervasive sense not only of "how did we get here?" but also a disbelieving, disheartening "so this is it?" in their daily grind. Some resent the hucksterism inherent in the advertising world- despite having fought to be a part of that world- as if the ad world should somehow be more than what is, a corporate job that just so happens to rely on teams of brilliant, creative and quirky individuals for its ultimate success. Worse, by nature some of these unique individuals are nearly the antithesis of the very idea of teamwork, which alone provides some interesting conflict. Characters strive to do their best work, or creatively avoid doing any work, as rumors swirl about layoffs and clients lost and found. With their uncertainties and insecurities surprisingly at odds with their handsome, enviable salaries, they praise and complain, encourage and slander, all the while desperate to avoid the dreaded humiliation of being the next in line to be shown the door. It's this fear of the seemingly inevitable that propels the book forward, and how each character deals with that fear (or its reality) makes the book engaging.

Ferris breaks from the "we" to the first person singular only once, and that's for a stern woman supervisor who's been diagnosed with cancer. Her ruminations on her life and circumstances are poignant without being maudlin, and add an extra, unexpected dimension to the book.

Like other first novels based on real places and events, Then We Came to the End does a fine job of letting outsiders in as it exposes the unglamorous aspects of ad agency life. Readers who spend their allotted time in cubicles and offices anywhere will undoubtedly recognize many of these characters- and maybe even themselves- since corporate life is corporate life no matter where it's found.

Mark Wakely, author of An Audience for Einstein

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