- Taschenbuch: 304 Seiten
- Verlag: Vintage; Auflage: Reprint (9. Oktober 2001)
- Sprache: Englisch
- ISBN-10: 0375725059
- ISBN-13: 978-0375725050
- Größe und/oder Gewicht: 13,2 x 1,7 x 20,3 cm
- Durchschnittliche Kundenbewertung: 3 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 3.174.109 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The PowerBook (Vintage International) (Englisch) Taschenbuch – 9. Oktober 2001
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While many other novels are still nursing hangovers from the 20th century, The PowerBook has risen early to greet the challenge of the new millennium. Set in cyberspace, Jeanette Winterson's seventh novel (or eighth, if you count her disowned Boating for Beginners) travels with ease, casting the net of its love story over Paris, Capri, and London. Its interactive narrator, Ali, is a "language costumier" who will swathe your imagination in the clothes of transformation: all you have to do is decide whom you want to be. Ali--known also as Alix--is a virtual narrator in a networked world of e-writing. You are the reader, invited to inhabit the story--any story--you wish to be told. As in all the best video games, you can choose your location, your character, even the clothes you want to wear. Beware: you can enter and play, but you cannot determine the outcome.
Ali/x is a digital Orlando for the modern age, moving across time and through transmutations of identity, weaving her stories with "long lines of laptop DNA" and shaping herself to the reader's desire. She wants to make love as simple as a song, but even in cyberspace there is no love without pain. Ali/x offers a stranger on the other side of the screen the opportunity of freedom for one night. She falls in love with her beautiful stranger, and finds herself reinvented by her own story.
The PowerBook is rich with historical allegory and literary allusion. Winterson's dialogue crackles with humor, snappy dialogue, and good jokes, several of which are at her own expense. This is a world of disguise, boundary crossing, and emotional diversions that change the navigation of the plot of life. Strangely sprouting tulips are erected in place of the phallus. Husbands and wives are uncoupled. Lovers disappear in the night to escape from themselves. On the hard drive of The PowerBook are stored a variety of stories that the reader can download and open at will, complete stories that loop through the central narrative. The tale of Mallory's third expedition, the disinterring of the Roman Governor of London in Spitalfields Church, or the contemplation of "great and ruinous lovers" are capsules of narrative compression. In Winterson's compacted meaning, language becomes a character in its own right--it is one of the heroes of the novel.
"What I am seeking to do in my work is to make a form that answers to 21st-century needs," Winterson has written. The PowerBook does just that. Her prose has found a metaphor for its linguistic forms of creation that feels almost invented for her, "a web of coordinates that will change the world." There will be a virtual rush of Internet-themed books in the networked naughties. With The PowerBook Winterson has triumphantly gotten there first. --Rachel Holmes -- Dieser Text bezieht sich auf eine andere Ausgabe: Taschenbuch.
“A manifesto for bravery in love...beautiful writing.”–Los Angeles Times
“Winterson writes about love the way van Gogh painted sun-flowers: lovingly, obsessively, always seeking a fresh way to present the subject.”–Entertainment Weekly
“Winterson is way ahead of most writers in finding new ways to tell a story.”–San Francisco Chronicle
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There's an ongoing plot in 'The Powerbook', a very modern love affair. It's the beauty of the prose that is really outstanding though. Winterson goes to Capri and uses the funicular railway as a metaphor in a manner that seems entirely natural, unforced, but prone to gravity. For me, there was a certain amount of nostalgia, as Winterson explores the settings of my own adolescent vacations, from the Isle of Capri near Sorrento, the romantic flirtation with Paris, the exhilarating adventure of seedy London. 'The Powerbook' lives up to its ambition of being an internet novel, since we can all attempt the Grand Tour via the Net nowadays. It's always a delight to follow in an author's footsteps, see the world through their eyes. For instance, you can find the painting of his wife Saskia as Flora on the net by Rembrandt. At first sight, this picture seems too dark to be the image that Winterson describes, but it's a delight to look at the picture again through her prose.
There's a section here where Winterson seems to return to the 'real life' of 'Oranges are not the Only Fruit', and it's very compelling to find a horror of nothing, the fear of having to invent, the burden of having to create. It does seem, though, that Winterson has been following current literary trends, borrowing and embellishing what she fancies. The Tulip trade is very much in fashion now, and Winterson has a faction devoted to George Mallory. Yet there are also much older, traditional tales. Lancelot and Guinevere, and Paolo and Francesca reading of their love, doomed to a much more bloody fate in the pages of Dante's Inferno. I had never come across the tale of Paolo and Francesca before, but it thrills me to find that it had been the subject of a variety of paintings, including one by the Pre-Raphaelite 'Dante' Rossetti.
This isn't a very weighty book in terms of page count. You'll find that you'll be able to finish off 'The Powerbook' in one sitting. Some might find the book a little costly in hardcover format. There is very little drama. Instead, there are some quite modern truths and observations. Winterson discusses the fact that nobody really seems to be content now, and that they always want more. That nobody wants to settle. Just waiting for the next opportunity, the next love affair. A society where everyone wants love, but wants to be left alone. So, this book is perfect for of a generation of short attention spans. Yet, if used in the right way, 'The Powerbook' can stimulate you a great deal; make you highly active as you seek out its subtle meanings, to compose your own story as you weave a path through the web, following the footsteps of Ali and Sebastian Melmoth. Maybe the Reformation and the Tulip trade brought the immortal Arabian Nights to us? Winterson also covers the theoretical debate of author/reader - which of these two really creates the fiction? Winterson comes down on the right side, and reveals fiction in its true light, as a dialogue between author and reader (literally). She conveys how some fictions will never die; will be forever revived by future artists. This poetic novel deserves to be kept on the bookshelf, and referred to whenever your heart desires.
wonderful to read and innovative in its way of storytelling it's really worth reading (even if it's not my favourite book by winterson, which still is written on the body).
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Found a really fantastic Jeanette Winterson documentary (My Monster and Me) on YouTube which prompted me to order this book--it's mentioned in the documentary and it was fabulous to see Shakespeare & Co. with the lovely Sylvia Whitman, who supported Jeanette's career at a time when she needed it. Good doc, good book--very happy with the time & money spent. Well worth it if you are a writer.