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Bezig met laden...

Het leven anno nu

door Anthony Trollope

Andere auteurs: Zie de sectie andere auteurs.

LedenBesprekingenPopulariteitGemiddelde beoordelingDiscussies / Aanhalingen
2,591514,667 (4.19)4 / 252
'Trollope did not write for posterity,' observed Henry James. 'He wrote for the day, the moment; but these are just the writers whom posterity is apt to put into its pocket.' Considered by contemporary critics to be Trollope's greatest novel, The Way We Live Now is a satire of the literary world of London in the 1870s and a bold indictment of the new power of speculative finance in English life. 'I was instigated by what I conceived to be the commercial profligacy of the age,' Trollope said. His story concerns Augustus Melmotte, a French swindler and scoundrel, and his daughter, to whom Felix Carbury, adored son of the authoress Lady Carbury, is induced to propose marriage for the sake of securing a fortune. Trollope knew well the difficulties of dealing with editors, publishers, reviewers, and the public; his portrait of Lady Carbury, impetuous, unprincipled, and unswervingly devoted to her own self-promotion, is one of his finest satirical achievements. His picture of late-nineteenth-century England is a portrait of a society on the verge of moral bankruptcy. In The Way We Live Now Trollope combines his talents as a portraitist and his skills as a storyteller to give us life as it was lived more than a hundred years ago.… (meer)
  1. 10
    Het geld door Émile Zola (littlegreycloud)
    littlegreycloud: Augustus Melmotte, Aristide Saccard, Bernie Madoff: plus ça change...
  2. 00
    Kermis der ijdelheid door William Makepeace Thackeray (morryb)
  3. 00
    Portret van een dame door Henry James (Crypto-Willobie)
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Engels (50)  Frans (1)  Alle talen (51)
1-5 van 51 worden getoond (volgende | toon alle)
A long but satisfying read that comes alive with the narrator. Although probably a typical Victorian novel it doesn't end in a typical Victorian way. ( )
  charlie68 | Apr 22, 2022 |
“Nadie que se relacionara con Herr Vossner había supuesto nunca que fuera un hombre honrado, pero como ladrón había sido tan agradable que incluso los que más habían sufrido su rapacidad lamentaban su ausencia con una ternura que casi orillaba con el amor.“

No creo que Trollope sea un visionario, por lo que deduzco que esta historia, llena de humor por otra parte, del mundo cínico, corrupto e implacable de las finanzas, y todo los que lo rodean, no era algo nuevo a finales del siglo XIX, cuando se escribió la novela. Una obra larga, pero ágil e interesante, cuya energía decae un poquito al final, y que también hace una crítica durísima de la nobleza en la sociedad londinense.
La historia de un estafador con mucho dinero al que incluyen en un negocio ferroviario en EEUU-México que consigue convertir en una burbuja millonaria en la que las acciones se distribuyen, venden y compran, según su iniciativa. Sus supuestos éxitos financieros lo transmutan en una figura imprescindible para la ciudad, y acaba por ganar unas elecciones en las que tanto el partido como la jurisdicción por la que se presenta son decididas a última hora, sin ideología, sin vínculos con nadie, salvo con el comité de banqueros y palanganeros que lo apoyan “con la ausencia de todo el prejuicio de clases por el que el partido se ha hecho famoso desde que se habían introducido las votaciones. Algún liberal desafortunado debería enfrentarse a él, por el bien del partido, pero las apuestas iban a diez contra una a favor de Melmotte.”

Melmotte es el protagonista de la historia, pero a su alrededor se movilizan una serie de pirañas, vagos, inútiles, que buscan dinero fácil para seguir viviendo sin dar palo al agua. Un montón de jóvenes aristócratas y advenedizos que, azuzados por sus padres y madres, sólo muestran interés por negocios fraudulentos e inestables o por la búsqueda de una heredera, aunque sea sin títulos, que le devuelva esplendor monetario a sus títulos nobiliarios. Pura meritocracia. Las mujeres se llevan aquí la peor parte, ya que son moneda de cambio para que todos estos parásitos sigan adelante. Algunas de ellas son los personajes más humanos, compasivos e incluso inteligentes de la obra de Trollope.

La falta de escrúpulos y el desprecio por todos aquellos que los tienen es la tónica en esta sociedad que se nos presenta, no como un asomo de lo que podíamos llegar a tener, sino como un etapa completamente asentada de la que sólo podemos llegar a mejorar. El trabajo de robar a la humanidad en bruto, dice el narrador sobre uno de los personajes en un momento dado, por magníficas representaciones falsas, no era tan solo un deber, sino el placer y la ambición de su vida.

Esa agilidad en la forma de contar, y las diferentes pequeñas historias que rodean a los muchos personajes de la obra, mantienen el interés de una traducción, siento decir, que deja bastante que desear y que nos impide sacarle mucho más partido a la obra. La ristra de apellidos que seguramente tienen un sentido satírico, como el de Lady Monogram, de soltera Julia Triplex o la Familia Primero, lo perdemos en el caso de Mr. Ramsbottom, la señora Pipkin, Flatfleece o Cohenlupe. Además entiendo que para una editorial pequeña es muy costoso publicar un libro como este y casi imposible llegar a una segunda edición pero, a pesar de su valentía, deberían ser más cuidadosos con las erratas. ( )
  Orellana_Souto | Jul 27, 2021 |
This is a classic. It is more serious than most of Trollope's other novels, which find wonderful humor in his characters' very realistic foibles and circumstances. Here he channeled some Dickensian social conscience. I did miss the full Trollope humor, but since the story features a con man and his unlucky victims, it is understandable that he would adopt a more serious approach so as not to seem to be toying with his readers (any writers' unavoidable con). Yet the tone is not at all heavy or humorless.

This long book is largely about money, credit and greed, and also about English society, women and maybe Jews, around 1870. First, the Jews. Several characters are Jews. Some uglier characters are blithely uninterested in seeing any humanity in a Jew beyond the worst of the stereotype, and several Jewish characters manifest elements of the type, mostly favorable elements. I did not find Trollope antisemitic but instead sympathetic. But I am not Jewish. Second, the women. Trollope is 100% sensitive to the poor circumstances of women in society and the schemes and concessions into which they were [and are] often forced in order to live reasonably. But I am not a woman.

The financial aspect is timely. The prime mover, one Melmotte, is a type of confidence man as common now as then. He is expert at getting and spending other people's money. The money comes from easy bank credit and from people who would prefer to make their living by investing their wealth with dubious persons in schemes that promise a big payoff, largely in preference to producing anything useful. That, assisted by a touch of fraud which need not come to light if the strategy succeeds. Melmotte spends the money on himself and exactly and expertly on those who will advance his aims in finance, society and politics. Here is the genius: if he succeeds, then he is wealthy. If he fails, then everyone else loses, and the schemer moves on and starts again, losing little or nothing. It is better than gambling.

When a business fails or personal finances collapse due to very bad luck or catastrophe, an honest person with skin in the game may be forgiven by society if not by creditors. Thus we have generous bankruptcy laws. One honest bankruptcy is understandable, a second concerning, a third offensive, a fourth foul, a fifth villainous, and a sixth positively presidential (2017). But I am not a businessman.

If you are new to Trollope, then by all means begin with the Barsetshire Chronicles, six novels which may be fully enjoyed independently. The first two, The Warden and Barchester Towers, were produced for TV in seven episodes by the BBC in 1982 and are available on Netflix. The BBC production, with Donald Pleasence, Nigel Hawthorne, Alan Rickman and others, is fully delicious. If you must have a romance, then start with Doctor Thorne, the third novel in the series, also available from Netflix in a fine British production. By the way, the BBC offered the present novel in four episodes also available on Netflix, well made. ( )
  KENNERLYDAN | Jul 11, 2021 |
Re-read for the second time with the Trollope Society online book club. This should have ended with the death of Melmotte; the final chapters merely repeat scenarios which have played out repeatedly already.

This has to be the longest book I have ever read. There were many sections, including the last fifteen discussions of how Roger felt about Hetta and Paul, which I would have cut, had I edited this book. Hetta was sadly lacking in personality, but Georgiana was satisfyingly dreadful. Quite gripping in a Victorian sort of way. ( )
  pgchuis | Jun 27, 2021 |
In Trollope's (1815-82) longest novel, he skewers an English society that worships money, and he does so skilfully enough that the reader doesn't mind hating the characters as long as s/he can find out what happens next. ( )
  Jimbookbuff1963 | Jun 5, 2021 |
1-5 van 51 worden getoond (volgende | toon alle)
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» Andere auteurs toevoegen (11 mogelijk)

AuteursnaamRolType auteurWerk?Status
Anthony Trollopeprimaire auteuralle editiesberekend
Brooks, DavidIntroductieSecundaire auteursommige editiesbevestigd
Case, DavidVertellerSecundaire auteursommige editiesbevestigd
Jacques, RobinArtiest omslagafbeeldingSecundaire auteursommige editiesbevestigd
Osborne, HughNotesSecundaire auteursommige editiesbevestigd
Sutherland, JohnRedacteurSecundaire auteursommige editiesbevestigd
West, TimothyVertellerSecundaire auteursommige editiesbevestigd
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Laat de lezer kennismaken met lady Carbury, zoals ze daar zit in haar huis in Welbeck Street, een dame wier karakter en bezigheden grotendeels verantwoordelijk zullen zijn voor wat er op deze bladzijden aan interessants te melden is.
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In the City Mr. Melmotte's name was worth any money,-though his character was perhaps worth but little.
As for Felix,—he had grovelled in the gutters as to be dirt all over. Nothing short of the prolonged sufferings of half a life could cleanse him.
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'Trollope did not write for posterity,' observed Henry James. 'He wrote for the day, the moment; but these are just the writers whom posterity is apt to put into its pocket.' Considered by contemporary critics to be Trollope's greatest novel, The Way We Live Now is a satire of the literary world of London in the 1870s and a bold indictment of the new power of speculative finance in English life. 'I was instigated by what I conceived to be the commercial profligacy of the age,' Trollope said. His story concerns Augustus Melmotte, a French swindler and scoundrel, and his daughter, to whom Felix Carbury, adored son of the authoress Lady Carbury, is induced to propose marriage for the sake of securing a fortune. Trollope knew well the difficulties of dealing with editors, publishers, reviewers, and the public; his portrait of Lady Carbury, impetuous, unprincipled, and unswervingly devoted to her own self-promotion, is one of his finest satirical achievements. His picture of late-nineteenth-century England is a portrait of a society on the verge of moral bankruptcy. In The Way We Live Now Trollope combines his talents as a portraitist and his skills as a storyteller to give us life as it was lived more than a hundred years ago.

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