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Bezig met laden... The Luminaries (Man Booker Prize) (origineel 2013; editie 2013)door Eleanor Catton
Informatie over het werkAl wat schittert door Eleanor Catton (2013)
Best Historical Fiction (109) » 35 meer Booker Prize (36) Books Read in 2016 (128) Historical Fiction (162) Books Read in 2015 (279) Female Author (306) Books Read in 2021 (495) Top Five Books of 2017 (370) Unread books (355) Books Read in 2018 (3,685) Big Jubilee List (23) Contemporary Fiction (80) Books read in 2015 (53) SFF Down Under (2) Tagged 19th Century (61) Bezig met laden...
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Nieuw Zeeland: tweede helft negentiende eeuw en daarin gesitueerd een kolonie met vrijwel uitsluitend goudzoekers die allemaal een rol spelen in dit verhaal. Een vertelling die op gang wordt gehouden door steeds enkele hoofdrolspelers met elkaar te laten spreken over een sterfgeval en een vermissing. Door die confrontaties ontstaat al snel een beeld van wisselende perspectieven die voor de schrijfster aanleiding zijn om de hoofdstukken de namen van de dierenriem te geven. En om het nog ingewikkelder te maken refereert zij ook nog aan de verschuiving van de stellaire en planetaire posities waardoor het teken van de dierenriem een maand later verschijnt dan volgens de gangbare opvatting het geval is. Wel aardig, maar uiteindelijk kun je als lezer die theorie ‘links’ laten liggen. Wanneer je het boek hebt gelezen valt alles wel op z’n plaats. Het is een omvangrijk boek en dat wetend ga je je na de eerste honderd bladzijden toch afvragen wat je in de volgende negentig procent van het boek nog tegen moet komen. En dan is daar ineens de drang om te blijven lezen. Niet omdat het allemaal zo spannend is, maar omdat het zo’n intrigerend verhaal wordt. Waarheid is een dun vliesje waaronder het borrelt van hebzucht en machtsmisbruik. Een bijzonder boek. A story about crimes, where criminals are sometimes less criminal than normal people and sometimes are worse. You have to read to the end to know what has happened and even then you still have the feeling that all those innocent people did not tell the truth. The book is well written, I enjoyed reading it. The story climbes to a climax somewhere in the middle. And then, when you wonder how the writer will keep this tension, the story relaxes a bit so that the reader can recover. Because he has to climb more mountains before the story is over. The last part is down hill, it confirms what you think and relaxes the reader. The end is a natual stop.
It is complex in its design, yet accessible in its narrative and prose. Its plot is engrossing in own right, but an awareness of the structure working behind it deepens one’s pleasure and absorption. As a satisfying murder mystery, it wears its colours proudly, yet it is not afraid to subvert and critique the traditions and conventions of its genre. Best of all, while maintaining a wry self-awareness about its borrowings and constructions, it is never a cynical novel. At times, it can be unapologetically romantic, in both its narrative content and its attitude towards the literary tradition it emulates. It is a novel that can be appreciated on many different levels, but which builds into a consistent and harmonious whole. Is Ms. Catton’s immense period piece, set in New Zealand, for readers who want to think about what they should be thinking? The book’s astrology-based structure does not exactly clarify anything. Its Piscean quality, she writes in an opening note, “affirms our faith in the vast and knowing influence of the infinite sky.” It’s easy to toss around words like “potential” and “promising” when a young author forges the kind of impression made by Eleanor Catton with her 2009 debut, The Rehearsal, a formally tricky but assured novel that hinged on teacher-student sexual relations. It won the Amazon.ca First Novel Award and the Betty Trask Award, and was a finalist for a handful of other plaudits, including the prestigious Dylan Thomas Prize for the best work by a writer under the age of 30. Making good on those expectations is another matter. With her ambitious second novel, Catton has accomplished that – and a great deal more. [...] The Luminaries is a novel that can be enjoyed for its engrossing entirety, as well as for the literary gems bestowed on virtually every page. The Luminaries has been perfectly constructed as the consummate literary page-turner. But it is also a massive shaggy dog story; a great empty bag; an enormous, wicked, gleeful cheat. For nothing in this enormous book, with its exotic and varied cast of characters whose lives all affect each other and whose fates are intricately entwined, amounts to anything like the moral and emotional weight one would expect of it. That's the point, in the end, I think, of The Luminaries. It's not about story at all. It's about what happens to us when we read novels – what we think we want from them – and from novels of this size, in particular. Is it worthwhile to spend so much time with a story that in the end isn't invested in its characters? Or is thinking about why we should care about them in the first place the really interesting thing? Making us consider so carefully whether we want a story with emotion and heart or an intellectual idea about the novel in the disguise of historical fiction … There lies the real triumph of Catton's remarkable book. The narrative structure intrigues, moving Rashomon-like between viewpoints and the bounds of each character’s separate sphere of knowledge, without ever losing the reader, various characters playing detective then stepping aside. The novel has many attributes – excellent dialogue, humour, great observation, as when two acquaintances at a party share the same expression:......Catton matches her telling to her 19th-century setting, indulging us with straightforward character appraisals, moral estimations of each character along with old-fashioned rundowns of their physical attributes, a gripping plot that is cleverly unravelled to its satisfying conclusion, a narrative that from the first page asserts that it is firmly in control of where it is taking us. Like the 19th-century novels it emulates, The Luminaries plays on Fortune’s double meaning – men chasing riches, and the grand intertwining of destinies. Heeft als studiegids voor studentenPrijzenOnderscheidingenErelijsten
Aangetrokken door de goudkoorts in Nieuw-Zeeland belandt een jonge Schot in 1866 vrijwel direct na zijn aankomst in een geheime bijeenkomst van twaalf mannen die proberen enkele raadselachtige misdrijven te ontrafelen die op een en dezelfde dag hebben plaatsgevonden. Geen bibliotheekbeschrijvingen gevonden.
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)823.92Literature English English fiction Modern Period 2000-LC-classificatieWaarderingGemiddelde:
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Right seems less important than Good. (thanks Roland).
I like the format of the astrology that pilots the structure, characters and changes.
I would give thus book 7,75 out of 10 . (in between 3,5 and 4 stars.) Maybe i had to reconsider my scale. ( )