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اثر فیلیپ راث از انتشارات نیماژ - مترجم: سهیل سمی-داستان کمدی

In quest of the unpublished manuscript of a martyred Yiddish writer, the American novelist Nathan Zuckerman travels to Soviet-occupied Prague in the mid-1970s. There, in a nation straightjacketed by totalitarian Communism, he discovers a literary predicament, marked by institutionalized oppression, that is rather different from his own. He also discovers, among the oppressed writers with whom he quickly becomes embroiled in a series of bizarre and poignant adventures, an appealingly perverse kind of heroism.


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The book pretty effectively walks the line between wild romp and social protest piece. Im not so sure Roth makes a definite point with this story of the Russian occupation of Czechoslovakia, but then as goes the political history of, well, anywhere, Im a bit of a tard. Thus the point may have been lost on me. We all know censorship and totalitarianism are bad; Roth basically leaves it at that. But its very fun and incorporates his brand of filthy, filthy, depraved sex. The Olga character is one of those living, breathing caricatures only an author with the talent and compassion of a Roth could pull off. Reading all of his earlier works--if youve read even one of his later works--you lower you standards a bit because youre witnessing the slow germination of Roths fathomless outrage and despair. And lust! So its worth reading these past four books because I am very much anticipating whats coming. Love for Mr. Roth, endless.

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When I read, @one´s story isn´t a skin to be shed- it´s inescapable, one´s body and blood. You go on pumping it out till you die, the story veined with the themes of your life, the ever-recurring story that´s at once your invention and the invention of you@, I thought, oh, duh, I get it, that´s what this is about. Roth´s theme es being jewish, and being a writer. I know, pretty obvious, but I like the way he says it. And I have to say I like what he does with these themes. The contrast in this book is what he sees when he goes to a country where being a writer and being jewish is something to hide, not talk about in books. It gets you to think about being creative en different circumstances, and how when that changes, so do the ways in which you are creative. I loved it, oh, and Zuckerman was much more quiet in this one.

مشاهده لینک اصلی
Nathan Zuckerman travels to Prague in the mid-70s to recover a manuscript. The key events here seem to revolve around the obsession the residents have about surveillance, some assuming their lives are totally recorded. The short book reflects on how people act under the weight of scrutiny, and you can see the similarities with Zuckerman’s brushes with fame. You also see some similarities with Updike’s Bech, a writer traveling to communist countries and running into government surveillance and literature groupies, though here you have an added quest. There are plenty of funny bits, but the ending is not satisfying in that aspect – it’s kinda serious in a “how’d we get here?” way. Fine for capping off the series.

مشاهده لینک اصلی
A coda novella to the Zuckerman trilogy (joining those 3 works in the fourth volume of the Library of America edition--theres also a unproduced teleplay of the novella in the volume, but as compulsive as I am [see my review of The Facts], I didnt feel compelled to read a second version of the same story, particularly a version meant to be acted, not read), a sort of travel adventure story that now seems a formal precursor to the book I just finished, Operation Shylock.

مشاهده لینک اصلی
Interesting when placed in contrast to the other Zuckerman books, otherwise fairly thin. Page 62 was the stand out for me, the process by which Zuckerman relates Prague to the used city all of those collected pennies for Israel intended to buy felt genuine. The rest of the book feels rushed, the characters read as cartoons, even the premise of the novel being a journal is only passable. Thinking through the condition of mitteleurope under Soviet rule does give great moments for essay and aside about the precariousness of modern politics, in particular the continued paradoxical homelessness of Jews.

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