Tag : margaret atwood

LEILA-SLIMANI-1024x512Vacanta de iarna 2017 – de citit: Cantec lin – Leila Slimani

Vacanta de iarna 2017 – de citit: Cantec lin – Leila Slimani

”Cantec lin” e o poveste scrisa ca un thriller despre o femeie care se angajeaza ca bona la o familie instarita din Franta.

Din primele pagini afli ca bona i-a omorit pe copiii de care ar fi trebuit sa aiba grija si de aici incolo totul e ca intr-un roman de Agatha Christie in cautarea cititorului de a intelege de ce a facut bona acest gest.

Cantec lin e o carte care e foarte foarte bine scrisa, intr-un stil minimalist, cu fraze scurte, fara multe adjective realist si cititorul parcurge pas cu pas emotiile bonei, dar si ale mamei copiilor – o avocata careia i s-a bulversat viata dupa aparitia copiilor.

Ce e cu adevarat spectaculos la aceasta carte este felul in care reuseste sa faca o radiografie a stratificarii societatii, a felului cum reda raporturile de putere intre clasele sociale, dar mai ales frustrarile celor care trebuie sa se supuna.

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Anul acesta a fost unul in care a fost multa lumina pe personajele bona, slujnica, fata in casa – Povestea Cameristei a minunatei Margaret Atwood a fost ecranizata si realizarea exceptionala a facut ca istoria de acolo sa ajunga la foarte multi oameni. Alias Grace – o poveste scrisa de aceeasi minunata doamna Margaret Atwood – a fost ecranizata de Netflix si eroina de acolo e tot o fata in casa.

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Cantec Lin a aparut la Editura Pandora, iar eu mi-am promis ca am sa mai caut si alte scrieri ale, deja multi premiatei, doamne Leila Slimani.

Pentru mine, lectura acestei carti a fost organica; am trait o experienta pe care n-am mai intalnit-o la o carte. Am citit jumatate intr-o seara (cartea are 180 de pagini si se citeste f usor) si, ca sa scap de tensiunea pe care mi-o aducea tehnica de scriere a doamnei Slimani, de la un punct incolo, eram mai atenta la structura narativa, la ce proceduri tehnice foloseste autoarea. In noaptea respectiva am visat ca eram luata prizoniera de un personaj ca bona din carte:))

N-am mai continuat sa o citesc pret de o saptamana, ba chiar am mutat cartea in alta camera ca sa nu ma mai bantuie, dar cand am dus-o la bun sfarsit, am devenit super fanul doamnei Leila Slimani care a fost in vizita la Bucuresti. Pacat ca, la vremea respectiva, nu citisem cartea domniei sale.

(aici puteti citi un interviu cu minunata doamna Margaret Atwood pe care l-am facut cu ceva ani in urma)

Cantec-lin_colaj

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Stone Mattress by Margaret Atwood5 carti de urmarit in toamna asta (fictiune)

5 carti de urmarit in toamna asta (fictiune)

pentru cei care citesc in engleza si isi achizioneaza versiunile electronice ale noilor aparitii, iata 5 carti de cautat in toamna asta.

datele lor de aparitie in limba romana nu le cunosc. ce mai probabil, daca vor fi luate pentru Ro, ar putea sa apara undeva la sfirsitul anului viitor.

 

 Amis e domnul cu Nascuti Morti, Banii sau Casa intilnirilor. la noi e tradus la Polirom

 

 Atwood e o scriitoare incredibila cu un simt analitic si un umor minunat. la noi au fost traduse Povestea Cameristei, Femeia Comestibila la Editura Leda.  in urma cu ceva ani, am avut placerea sa fac un interviu cu doamna Atwood, il puteti citi aici

 

 Murakami e Murakami. Tocmai am scris astazi de el aici. in Ro e tradus la Polirom.

 daca n-ati citit nimic de Ian McEwan TREBUIE sa o faceti ; puteti alege Amsterdam, Durabila Iubire, Ispasire. si el e tradus in Ro la Polirom , aici catalogul traducerilor 

 

 In ro, Nick Hornby are tradus High Fidelity care a si fost ecranizata. daca nu l-ati descoperit inca, e genul de scriitor care spune lucruri foarte serioase intr-un context aparent soft. si el e tradus la Polirom.

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Atwood 1Atwood si cartile SF

Atwood si cartile SF

Margaret Atwood este una dintre scriitoarele care nu imbatrinesc. are twitter, blog, converseaza via chat cu cititorii, isi lanseaza cartile pe hirtie reciclabila si scrie despre lumi care par un amestec de Matrix cu Inception si cu feminism.
si are 72 de ani

nu-i place sa i se spuna ca scrie SF.
pentru editia de week end a ziarului The Guardian, Atwood a scris un eseu despre relatia sa cu literatura SF.

Recently I set out to explore my lifelong relationship with science fiction, both as reader and as writer. I say “lifelong”, for among the first things I wrote as a child might well merit the initials SF. Like a great many children before and since, I was an inventor of other worlds. Mine were rudimentary, as such worlds are when you’re six or seven or eight, but they were emphatically not of this here-and-now Earth, which seems to be one of the salient features of SF. I wasn’t much interested in Dick and Jane: the creepily ultra-normal characters did not convince me. Saturn was more my speed, and other realms even more outlandish. Our earliest loves, like revenants, have a way of coming back in other forms; or, to paraphrase Wordsworth, the child is mother to the woman. To date, I have written three full-length fictions that nobody would ever class as sociological realism: The Handmaid’s Tale, Oryx and Crake and The Year of the Flood. Are these books “science fiction”, I am often asked. Though sometimes I am not asked, but told: I am a silly nit or a snob or a genre traitor for dodging the term because these books are as much “science fiction” as Nineteen Eighty-Four is, whatever I might say. But is Nineteen Eighty-Four as much “science fiction” as The Martian Chronicles? I might reply. I would answer not, and therein lies the distinction.

de aici

cind a lansat The Handmaid’s Tale (povestea cameristei) am avut placerea si onoarea sa fac un interviu cu Margaret Atwood.

It is said that for a writer, each novel is a correction to the one that came before. What is your aim? And the aim of your work?

The aim of any writer is to complete whatever book he or she is working on in such a way that the reader, too, will wish to complete it.
As for the aims of my work, this is a subject best left to critics. They can have a good deal more fun with it than I will ever have.
Let’s just say I write about whatever happens to interest me at the time. I’ve had many interests.

restul interviului aici

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margaret atwood, femeia oracol & interview

am avut un crash pentru doamna asta cind am citit Povestea Cameristei. sunt citeva bucati acolo in care, pentru a demonstra ceva stilistic, toate cuvintele au acelasi numar de litere. (eu stiu varianta in engleza, nu p ecea in romana)

la vremea lansarii cartii Povestea Cameristei in Romania, am fct un interviu pt Tabu cu doamna atwood. astazi editura leda ma anunta, stiindu-mi pasiunea pentru autoare, ca in noiembrie mai lanseaza o carte in Romania, Femeia Oracol

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iata, in premiera, interviul cu atwood needitat:) interviul in varianta tradusa(of cors) a fost publicat in mai 2007, in Tabu

1. It is said that for a writer, each novel is a correction to the one that came before. What is your aim? And the aim of your work?

Answer: The aim of any writer is to complete whatever book he or she is working on in such a way that the reader, too, will wish to complete it.
As for the aims of my work, this is a subject best left to critics. They can have a good deal more fun with it than I will ever have.
Let’s just say I write about whatever happens to interest me at the time. I’ve had many interests.

2. What advice would you give to young women today?

Answer: That would depend completely on where such a young woman lives, what motivates her, and what resources are available to her. But in general: 1. Have some financial independence, if you can. 2. Wear shoes that won’t distort your feet – twenty years from now, you’ll be glad you did. 3. You are not the sum of what everyone else thinks about you.

3. Do you think that men are a little bit taken by surprise by everything that is happening with women today?

Answer: Some men are easily surprised. You cannot however change the position of women in a society without also changing the position of men, and vice versa.

4. Could be described your book The Handmaid’s Tale a feminist anticipation of Matrix story/ movie?

Answer: Although both centre on forms of totalitarianism, the Matrix story is completely different. In the Matrix, the world has been taken over by advanced computer forms, which have destroyed biological life, except for human beings kept in cocoons and used as a source of bio-energy. The “real world” – the one that resembles the world we know –is a simulation; in the REAL real world, you’ve got plugs in your back and you’re asleep. There is a small resistance group of people who are “awake,” and are fighting the enslavement of human beings. All of this resembles Plato’s parable of the cave and its many spinoffs, and bears scant relation – apart from a metaphorical one — to the slice of reality we currently inhabit.
The Handmaid’s Tale, on the other hand, is an answer to the question, “What would totalitarianism look like in America, suppose it were to come to pass?” We already have all the ingredients for the world The Handmaid’s Tale describes. And we are seeing some of the inclinations.
The United States began as a theocracy in the 17th Century, and that sub- currant has never been absent from it.
Incidentally, The Handmaid’s Tale is not a “feminist” book as such. If it were, all the men in it would be having a great time, and all the women, not. Instead it is a true totalitarianism (pyramid-shaped), seen through the eyes of a member of a slave sub-set. There is a difference.

4. There are a few differences between your book and the The Handmaid’s Tale movie. What do you think about this?

Answer: Film is a very literal medium. It shows everything. As such it is more inflexible than language. A film is also shorter than a book, by and large, so thing get left out.
Thus the film could not show the last chapter; nor are the costumes in it the same as the ones described in the book.
Interestingly, The Handmaid’s Tale is now also an opera – in opera, people can sing their emotions and thoughts out loud, so the opera is actually closer to the book.

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