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am 27. Mai 1999
While _Heart Of Darkness_ portrays the bleakness of the unchecked human spirit, it is Faulkner's _Sanctuary_ that places it squarely in our noses, our ears, our eyes as well as our hearts and souls. In this purely American novel we see not "adventurers" in Conrad's traditional sense, but American debutantes causually thrust into the orbit of the Memphis Prohibition underworld.
As in _Sound and the Fury_ Faulkner uses his "shadow of the branch" approach to the narrative keeping the reader guessing as to what actually takes place at the "Frenchman's Place"; and when the reader finally "gets it" -- or, more accurately -- when this reader "got it," the experience was as shocking as anything to be seen in Doestoyevsky, Conrad or Bauldelaire.
I wrote my thesis on this work five years ago and its effect on me, as I flippantly spew these remarks are as vivid as the first time I encountered Popeye with his face like "tin," and Temple Drake.
Highly recommended for those not afraid of impingement, because _Sanctuary_ will impinge on whatever the reader's threshold for true darkness and horror may be.
0Kommentar| 3 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 24. April 2016
Ich habe mich sehr gefreut ein so günstiges Exemplar dieses Buches zu finden.
Da ich es für meine Diplomarbeit brauche, war es mir natürlich auch wichtig, dass es flott da ist.
Alles perfekt. Kam wie beschrieben innerhalb der nächsten Tage an (weiß die genauer Dauer nicht mehr, aber sehr flott).
Natürlich erkennt man bei einem gebrauchten Produkt ein paar Gebrauchsspuren, aber ganz ehrlich, das ist nicht der Rede wert.
War wirklich fast wie neu. Es wurde nichts markiert und die leicht vergilbten Seiten sind hervorragend lesbar.
Kann man gar nichts daran aussetzen.
Freu mich sehr über das Buch.

Zum Inhalt des Buches:
Herrje... Also wer Faulkner mag, der wird meine Rezension nicht schätzen.
Ich finde den Stil einfach scheußlich. Ich werde mit dem Herrn einfach nicht warm.
Permanent habe ich das Problem, dass ich nicht weiß, wer gerade spricht. Die vielen "he" and "she" sind mir oft einfach unklar.
Ohne Frage ist "Sancuatry" ein Beispiel für das Gothic Novel. Massig werden Leute abgeschlachtet, eine Frau wird mit einem Maiskolben vergewaltigt, und die ganze Atmosphäre ist einfach unheimlich aufgeladen. Sein total hektischer Stil trägt natürlich zum Spannungsaufbau bei und lässt den Leser spüren, wie verzweifelt die arme Frau ist. Aber dennoch verstehe ich nicht, wieso man permanent alles wiederholen muss, was bereits gesagt wurde (und man sich trotzdem teilweise nicht auskennt) ist mir auch unverständlich.
Ein kleiner Ausschnitt als Kostprobe:
"Yes", she said, "all right. Don't you let him in here."
"You mean fer me not to let none of them in hyer?"
"All right. I'll fix hit so cain't nbody git to you. I'll be right hyer."
"All right. Shut the door. Don't let him in here."
"All right." He shut the door. She leaned in it, looking towards the house. He pushed her back so he could close the door. "Hit ain't goin to hurt you none. Less says. All you got to do is lay down."
"All right. I will. Don't you let him in here." p. 80

Mein stilistischer Horro... aber hey, wer das mag. Ich musste nach der Lektüre eine Internet-Zusammenfassung konsultieren, um mir sicher zu sein, was ich da gelesen habe. Ich war z.B. der festen Meinung, dass Temple zur Prostitution gezwugen wurde. Da lag ich falsch.

Also das Buch bekommt 5 Sterne, was der Autor da fabriziert hat für mich nur 1.
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am 17. Dezember 1998
I read "As I Lay Dying" and I loved it!
I read "The Sound an the Fury" and thought it was briliant!
I finished reading "Sanctuary" today and thought--like the previous two--it was a lierary classic!
Anyone who has ever read a Faulkner book knows that, by the end of his works, there is at least one character that is loathed--In "Sanctury" there is a plethora!
You will love the book but hate the characters--their actions that is. . .
Find out for yourselves what I mean. . ..
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am 22. Juli 1998
While Faulkner admitted that this book, alone among the myriad of his writings, was written for money purposes only (and thus has some of his most lurid, sensationalistic, and reactionary prose), it has a very powerful attracting factor: its language. While the convoluted and unclear plotline (which Faulkner himself detested enough to heavily reconstruct, revise at a personal cost of $270 in a time when that was a small fortune) is an obvious detriment, the gorgeous word choice, word placement, and sentence construction nearly make up for it. For a short example, I will submit the final sentence: "She closed the compact and from beneath her smart new hat she seemed to follow with her eyes the waves of music, to dissolve into the dying brasses, across the pool and the opposite semicircle of trees where at sombre intervals the dead tranquil queens in stained marble mused, and on into the sky lying prone and vanquished in the embrace of the season of rain and death.&q! uot; Simply gorgeous; but the unconvincing story of rape, murder, lynching, a bumbling lawyer, a dangerous bootlegger from Memphis whose entire past history and motivation is described in 4 or 5 of the final pages, and many others can seem at times very outlandish and hard to follow, not from intrinsic, Faulknerian difficulty to read, but because of poor detail and a shallow style of writing. Characters have very little depth, and are afforded very short monologues when given one at all; Many characters, uncharacteristically, seem to simply not exist below the exterior, under the surface. However, if a reader can bypass this gruff outside layer of paint, Sanctuary has much to offer in way of the English Language.
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am 2. April 2000
In "Wild Palms" it was a manifest literary technique, but in "Sanctuary" it's a desperate attempt to weave together a story from different plotlines. I am a Faulkner buff, and have always felt tricked by this one: everything that goes on at "the house" prior to the "event" (I'm trying not to give too much away) is some of the master's best. It is a world apart, relating not to "the south", as some wrote, nor to any other referent world; its inherent danger and unexpectedness and possibilities depend on that. Halas, the story then focuses on the character that it ultimately chose for its true protagonist, a well-intentioned yet incompetent lawyer, and an uninteresting one at that. As soon as the narrative moves into the cities it looses its force, revived at times only by such comic giveaways as the provincial youngsters who frequent a brothel in Memphis, never realizing that they reside in another. I can almost imagine Faulkner cutting & pasting that from some draft, soberly thinking, "I got to liven this up a bit". And it goes from bad to worse. All that befalls Popeye after his last encounter with Red seems artificial; it recalls Hollywood's standards for treating villains, owing more to comodification of morality than to narrative integrity. Do we learn something about Popeye that makes him a more interesting character than in the first part? Hardly. Yet with all of that, the writing itself was rarely surpassed in American prose. Faulkner has that uncanny ability to get us involved in his nontransparent language all the while keeping it away from the fore, first and foremost using it to tell his story (as opposed to Joyce or Dickens). For that alone this book is a joy; but on the narrative scale one feels, ultimately, cheated out of a good story.
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am 10. Februar 1999
I love it. The venality and corruption portrayed in this book are shivery and endlessly thought-provoking, with the character of Temple Drake as its fascinating focus. Faulkner outdid himself with Temple, a spoiled, capricious and ultimately abused young woman who becomes fed like a baby vampire on the seedy whorehouse where she is captive. The best thing about Sanctuary is, though, we never really know who she was before this pass. Virgin or whore?
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am 13. Oktober 1997
One of Faulkner's fastest moving and most exciting tales, written in lucid and brilliant prose thay will hit you between the eyes.
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