- Audio CD
- Verlag: Random House Audio; Auflage: Unabridged (16. Juli 2013)
- Sprache: Englisch
- ISBN-10: 0385392907
- ISBN-13: 978-0385392907
- Größe und/oder Gewicht: 12,9 x 1,4 x 15 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
- Amazon Bestseller-Rang: Nr. 1.106.198 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Love, Dishonor, Marry, Die, Cherish, Perish: A Novel (Englisch) Audio-CD – Audiobook, Ungekürzte Ausgabe
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"An extraordinarily and deliriously entertaining work....hearfelt, charmingly profound....[a] giddy, wistful triumph"
--Paul Rudnick, The New York Times Book Review
“Suffused with joyful invention. Readers may come to the book to pay their respects, but they will leave rejuvenated by the splendor of the warmth and wordplay. Composed a hand-span’s distance from death, it feels death-defying….irrepressibly funny, and even strangely uplifting, in jubilant verse….If this book must serve as his memorial, it’s at least as life-affirming as any that a writer has left behind”
—Wall Street Journal
"Sly, bravura....a marvel of gamesmanship, Mr. Rakoff describes hardship, illness, death and depravity, knowing how ingeniously his book’s style and substance would fight each other....gift for balancing truth telling and humor....future readers can turn to this book to remember why he was so widely appreciated and is sorely missed"
--Janet Maslin, The New York Times
“The literary rhythm captures the steady momentum of American progress….poignant….beautiful and melancholy….with a final image that made my eyes well up….funny and heartbreaking and, like Rakoff himself, not easy to forget”
--Entertainment Weekly, A
“Ingenius, delicately haunting…..probing, poignant, and wickedly funny….illuminate[s] the many stages of life”
“It’s terrific: a sweeping narrative of the 20th century that encompasses personal tragedy, family secrets and broad social movements while going down as easy as a bite of crème brûleé”
—Gregory Cowles, The New York Times Book Review
“Reading the new novel in verse by David Rakoff, you can hear his voice again, wordy, so witty, a little worried, and always wise…..His mordant humor, his compassionate vision, his moral questioning, his sharp honesty, they’re all intimately wedded to the meter and the zestful diction of the book…..But the new direction he takes in “Love, Dishonor, Marry, Die, Cherish, Perish” brings out the best in him, too, as he fits his voice into a tighter form without ever becoming a slave to that form. He is as vital, as blackly comic, as bursting forth with detail, as vernacular, and as poignant in metered verse as he is in his effortlessly long prose sentences. Each couplet here equally serves the structural rules, the story, and Rakoff’s matchless sensibility….The narrative is ambitious and has sweep…Agile, vivid, and entertaining”
“Even at six vivid verbs, the title doesn’t do justice to the breadth of this short, acrid, elusive, entrancing book.”
"Inspired...accessible, delightful....powerful.... alluringly designed by Chip Kidd and illustrated by the cartoonist Seth, is filled with the sly, sharp social commentary that made Rakoff such a favorite....What shines through in this novel, even more than in his nonfiction, is a piercing, wistful appreciation for life, love and art....deserves to become a classic.....a rare bird: moving, amusing, lilting, crushing."
--Heller McAlpin, NPR
“I just marveled at his words….What he’s created in this book is Seussian”
—Ira Glass, in an interview with O Magazine
“Beautiful and heartbreaking....delightful.... hilarious and lewd and shot through with a longing for life”
--New York Times
“A novel in rhyming couplets narrated in iambic tetrameter? Why not?... Along the way, you can have a lot of fun, no matter how serious the subject — family, sometimes alienating, sometimes consoling — because of the rhymes. Rakoff makes such pairings as virago and Chicago, ceases and paresis, skittish and Yiddish, antelope and envelope, horas and Torahs, Alzheimer's and climbers, for 100 cleverly rendered and entertaining pages.”
—Alan Cheuse, NPR.org
"[A] tour de force novel-in-verse....It is hard not to feel celebratory over its heart-singing smarts, its existence as a fist raised against a life ending. What melancholia is there is confined to its characters — it’s a triumphant, moving work of true craft and wit."
"Truly singular....There is so much bound up in the novel's singsong verse: stories about AIDS and Alzheimer's, altruism, art, lives linked together by buried incidents that spring up again to bear unexpected fruit."
--Ira Glass, The Atlantic
“Rakoff marries deft, humane observation with jauntily tripping verse structure — in places, you'll find yourself thinking of Dr. Seuss — to create a series of jewel-toned interlocking miniatures.”--NPR.org
“[A] marvelously barbed novel in verse.”
–Elissa Schappell, Vanity Fair’s “Hot Type”
"Mesmerizing....Combines his wit and his gravity....Astounding"
"A fitting memorial to a humorist whose embrace of life encompassed its dark side....[the book] retains a spirit of sweetness and light, even as mortality and inhumanity provide a subtext.....Strong work. It deepens the impact that this was the last book completed by the author."
From the Hardcover edition.
Über den Autor und weitere Mitwirkende
David Rakoff was the New York Times bestselling author of the books Fraud, Don't Get Too Comfortable, and Half Empty. A two-time recipient of the Lambda Literary Award and winner of the Thurber Prize for American Humor, he was a regular contributor to This American Life. He died in August 2012 at the age of forty-seven, shortly after finishing this book.Alle Produktbeschreibungen
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They'd probably swear and tell me to back off
`He's truly amazing, we all agree, can't you hear us?'
I'd argue that he's a little too much like Sedaris
But this novel, for some reason, it grabbed me
I read it all night, losing sleep gladly
Rakoff crafted something unique and quite new
A true work of art before the his final adieu.
It's hilarious, saddening and at times quite revealing
Though written in form I find unappealing
`The whole thing rhymes?' I thought with some horror
From cover to cover - I didn't think that I'd bother.
And the premise - well, I thought that it'd tank
Or at worst descend into faux-literary wank
But herein lies the books true art -
Its clever and witty without being smug or too smart.
This bit is the worst, and it really does pain me,
That I should go to greater lengths explaining
In the middle it dragged and my attention, it waned
Feeling a little verbose and a little bit strained.
But truthfully it shouldn't detract
From a wonderful read that compelled me, and that
I will read again, admittedly, not the whole thing
But select chapters, which are nothing short of amazing.
Rakoff encapsulates so many aspects to life, the title absolutely makes sense. He weaves the stories of a group of people, subtly and sometimes surprisingly connected, throughout the American 20th century. He hits on themes of loss, love, longing. Most poignant for me was the character of Clifford, with whom we spend much time, as see him grow up to navigate this world, as he creates the central image of the story. The book itself takes about an hour to read (once you get into the rhyming patterns) and is filled with so much much-ness that I found myself slowing down to absorb.
Not only to absorb the content, which at times is pointed, painful and all together truthful. He is a master of language. The rhyme scheme sometimes forces his hand into having to select words that you cannot think possibly could be rhyme, but not only does he rhyme them, but he makes it fun. I found myself lost in his words from time to time, just enjoying his use of them. Several passages require reading aloud, for their sound and their humor.
Dear Mr. Rakoff, wherever you may be right now, know that your final novel, that you wrote as you were dying, will be remembered as a hallmark of literature, and a personal favorite of mine for this year, if not my life.
David Rakoff's "novel in verse" is not as formally uncommon as many readers might think. Long narratives--both fictional (novels?) and nonfiction (historical, autobiographical, biographical)--have been a small but steady presence in the literary world. (David Mason, Ludlow; Ruth Padel, Darwin: A Life in Verse; Daryl Hine, In and Out; Vikram Seth, Golden Gate, are just a few book-length works in a variety of genres, but all written in verse.) It is difficult, in fact, to define or even identify a "novel in verse" that could not just as easily be called a "long narrative poem" (one thinks of William Morris's saga of Jason and the Argonauts, for example), though comparison with the Brownings' big poems--Elizabeth Barrett Browning's Aurora Leigh or Robert's The Ring and the Book, might open some parameters. Even Herman Melville's Clarel might offer some points of reference, but the better point of comparison would probably be Edgar Lee Masters' Spoon River Anthology.
Rakoff develops several characters, somewhat linked by encounter or even ancestry, with the most prominent being Clifford, Helen, Susan, and Josh. Their stories occur in brief episodes with some linking exposition, and though the characters are interesting, sympathetic, the incidents of their lives, presented in such condensed and fragmentary form, are unfortunately cliched and too familiar. The novel opens with the tale of red-headed Margaret, a child who is beautiful, abused, sent away to escape the predatory man--her mother's lover--who has raped her. Terrible events and wrenching drama do not necessarily make for depth or weight, and that is the problem with this novel.
David Rakoff died much too young, and though he might have felt this novel was "finished," it feels like a bunch of preliminary notes toward what might have been a powerful exploration of changing social and moral values as well as portraits of the courage and persistence of people affected by unfair or even tragic events. But it hardly happens in this novel. When Clifford, the gay man, dies of AIDS, the event is sad, but no more (nor less) meaningful than any other account of the effects of "the plague," since it has little context and very little development. Of course, there are novels composed of sequences of brief episodic narratives, with little explanatory or developmental linkage, written so that the reader is obliged to make the connections or at least be alert to those embedded in the sections. Quite a few contemporary novels ignore chronology but link sections by referring to events or characters in earlier sections, and these can be either tricksy and cute or sometimes profound and moving. But when this approach to structure fails to work as intended, the result is disappointing.
I would have liked to be enthusiastic about this novel for several reasons, but the experience of reading it does not stimulate enthusiasm--just a sense of regret at opportunities missed and the pain of loss of a writer who had much to offer, but not enough time.
Regarding the controversy of the delivery method of this final work, written in anapestic tetrameter (two unstressed syllables, followed by one stressed); it's a form of rhyming used by Dr. Seuss, Clement Moore, Lord Byron and Eminem, so how "inaccessable", or off-putting can it really be? As I listened, the power of the story overtook the conceit, and the analysis provided by his editor, Bill Thomas, in an interview with the New York Times was borne out:
"What is so special to me about the book," Mr. Thomas said, "is that it is the purest distillation of David's belief that we live in a world that is essentially cruel and indifferent, but there are remedies for that. And the remedies are kindness and beauty. It's very clever and erudite, and it's very, very funny, as David was, but fundamentally it is a brief for kindness."
David Rakoff was truly one-of-a-kind, and he was our kind. His voice, and the depth of his humanity will be forever missed.
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