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The Hours (Englisch) Taschenbuch – 15. Januar 2000

4.1 von 5 Sternen 174 Kundenrezensionen

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Taschenbuch, 15. Januar 2000
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  • The Hours
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Amazon.de

The Hours is both an homage to Virginia Woolf and very much its own creature. Even as Michael Cunningham brings his literary idol back to life, he intertwines her story with those of two more contemporary women. One grey suburban London morning in 1923, Woolf awakens from a dream that will soon lead to Mrs. Dalloway. In the present, on a beautiful June day in Greenwich Village, 52-year-old Clarissa Vaughan is planning a party for her oldest love, a poet dying of AIDS. And in Los Angeles in 1949, Laura Brown, pregnant and unsettled, does her best to prepare for her husband's birthday, but can't seem to stop reading Woolf. These women's lives are linked both by the 1925 novel and by the few precious moments of possibility each keeps returning to. Clarissa is to eventually realise:

There's just this for consolation: an hour here or there when our lives seem, against all odds and expectations, to burst open and give us everything we've ever imagined...Still, we cherish the city, the morning; we hope, more than anything, for more.
As Cunningham moves between the three women, his transitions are seamless. One early chapter ends with Woolf picking up her pen and composing her first sentence: "Mrs. Dalloway said she would buy the flowers herself." The next begins with Laura rejoicing over that line and the fictional universe she is about to enter. Clarissa's day, on the other hand, is a mirror of Mrs. Dalloway's--with, however, an appropriate degree of modern bevelling as Cunningham updates and elaborates his source of inspiration. Clarissa knows that her desire to give her friend the perfect party may seem trivial to many. Yet it seems better to her than shutting down in the face of disaster and despair. Like its literary inspiration, The Hours is a hymn to consciousness and the beauties and losses it perceives. It is also a reminder that, as Cunningham again and again makes us realise, art belongs to far more than just "the world of objects." --Kerry Fried

Pressestimmen

"The overall impression is that of a delicate, triumphant glance, an acknowledgement of Woolf that takes her into Cunningham's own territory, a place of late-century danger but also of treasurable hours."--Michael Wood, "The New York Times Book Review"
"An exquisitely written, kaleidoscopic work that anchors a floating postmodern world on pre-modern caissons of love, grief and transcendent longing."--Richard Eder, " Los Angeles Times Book Review"
"[Cunningham] has deftly created something original, a trio of richly interwoven tales that alternate with one another chapter by chapter, each of them entering the thoughts of a character as she moves through the small details of a day . . . Cunningham's emulation of such a revered writer as Woolf is courageous, and this is his most mature and masterful work."--Jameson Currier, "The Washington Post Book World"
"The triumph of "The Hours" is that it somehow manages to be both artful and sincere, striking nary a false note . . . And the triumph of the book is no less the triumph of its author. Just when it seemed that it was no longer permissible to pay respect to the literature of the past, Cunningham has done so with an undeniable skill and depth of feeling."--Justin Cronin, "Philadelphia Inquirer"
"Rich and beautifully nuanced scenes follow one upon the other . . . [a] gargantuan accomplishment."--"Publishers Weekly" (starred, boxed review)


The overall impression is that of a delicate, triumphant glance, an acknowledgement of Woolf that takes her into Cunningham's own territory, a place of late-century danger but also of treasurable hours. "Michael Wood, The New York Times Book Review"

An exquisitely written, kaleidoscopic work that anchors a floating postmodern world on pre-modern caissons of love, grief and transcendent longing. "Richard Eder, Los Angeles Times Book Review"

[Cunningham] has deftly created something original, a trio of richly interwoven tales that alternate with one another chapter by chapter, each of them entering the thoughts of a character as she moves through the small details of a day . . . Cunningham's emulation of such a revered writer as Woolf is courageous, and this is his most mature and masterful work. "Jameson Currier, The Washington Post Book World"

The triumph of "The Hours" is that it somehow manages to be both artful and sincere, striking nary a false note . . . And the triumph of the book is no less the triumph of its author. Just when it seemed that it was no longer permissible to pay respect to the literature of the past, Cunningham has done so with an undeniable skill and depth of feeling. "Justin Cronin, Philadelphia Inquirer"

Rich and beautifully nuanced scenes follow one upon the other . . . [a] gargantuan accomplishment. "Publishers Weekly (starred, boxed review)""

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Diese Buch ist einfach großartig, so meisterhaft geschrieben und so perfekt durchkomponiert. Über die sich ineinander webende Handlung ist schon viel geschrieben worden, aber das ganze in einer traumartigen Prosa, die so sinnlich ist und schön, wie es meiner Meinung nach erstaunlicherweise auch der Film schafft zu transportieren. Ein tolles Buch, ich weiß nicht wie die Übersetzung ist, auf Englisch ist es ein Meisterwerk.
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Michael Cunningham has produced a genuine masterpiece, a brilliant work of art truly deserving of the Pulitzer Prize Award. It is to my mind the most outstanding novel I have read this year. Nobody who loves serious fiction or literature should miss it. It is THAT good. I can only surmise that Cunningham is a follower of Virgina Woolf. He is so imbued with her spirit that his prose reads almost like hers. His uncanny grasp of her "stream of consciousness" style lends a special resonance to the exploration of the "interior lives" of three women from different times who share a common predicament, that of a disconcerting dislocation from their external existence. There's Virgina Woolf, the author of "Mrs Dalloway" and central inspiration for the novel ; Laura Brown from a later age who reads "Mrs Dalloway" to escape the crushing nihilism of her domesticity and unconvincing contentment ; and Clarissa Vaughn, the modern day reincarnation of Woolf's celebrated heroine. While "The Hours" is a tour-de-force in its own right, my own enjoyment of it was so greatly enhanced by my familiarity with its source that I can only recommend fellow readers to first read the Woolf classic for inspiration before taking the plunge. The recurring theme of suicide, madness and sexual ambiguity as they are explored in the novel take on a special meaning armed with that understanding.Lesen Sie weiter... ›
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This book was engrossing because of the author's use of language. He describes three situations simultaneously from three distinct time periods, and manages to eloquently capture the different emotions stirring in each character. Despite the author's use of language, I felt that three stars was appropriate for this book because of the overall lack of plot and character development.
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Virginia Woolf he is not. This novel is loaded with overblown language, the worst over-the-top sort of sentimentality, and is just plainly and blatantly full of itself. Worst of all, there is no content to speak of. Nothing. The language is the opposite of dense. It is so full of air that it threatens to blow away, and many times while I was reading I wished that it would. It resembles most closely, not Virginia Woolf (that champion of beautiful language and observation) but rather a college freshman intent on showing off how good he is at writing. In all honesty it is the worst literary book I have ever read, and probably the worst book of any kind that I have ever read. I'm glad it's over. Good riddance. And how this book could win any award is unfathomable, unless it was because it rode Virginia Woolf's coattails and made the appropriate bows and scrapes to topical issues.
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No, not a morbid study of suicide - rather a celebrationof life and living it moment by moment. Essential for anyone remotely interested in the 'soul's journey' - or call it whatever you might, this work connects deeply and with great feeling - perhaps achieving what Mrs. Woolf didn't quite manage during her lifetime - making the reader or viewer aware of 'connections'.
Footnote: The novel has been [brilliantly] realized on film with Julianne Moore [indelible], Meryl Streep and Nicole Kidman as Mrs. Woolf - not to be missed - quite, quite essential.
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inia Wolff and places her dilemma in the context of two contemporary women. One woman, begins her stuggle for identity at the end of World War II. She would rather read the novel Mrs. Dalloway, than participate in family life. Reluctantly she goes the motions of preparing a cake with her small son for her husband's birthday. She cannot bring about the emotional commitment to this kind of living.
The second contemporary woman, Clarissa, is nicknamed Mrs. Dalloway, and she relives the opening scene of that novel. She, too , struggles with a meaning to her life and finds it lacking. Her realationships are all frought with her self-imposed fears and disappointments.
And then, there is Virginia Wolff herself, struggling with the beginning of the novel "Mrs. Dalloway"
All three characters weave in and out of this tale of psychological hell, and the ending is a grand epiphany which brings the characters together.
I have a minor criticism. The author writes about a flower shop in June and describes its contents. HOwever, paperwhites are not available at that time of year. They are finished the the first week of May.
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