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Bezig met laden... Landscapesdoor Christine Lai
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This elegiac debut is at once a glimpse into the ravages of a climate-wrecked world and a cutting examination of violence against women in art, demanding we consider the long-lasting consequences of our actions and testifying to the slow, painful work of living after trauma. While living in a world on the brink of environmental collapse, a young woman prepares for the return of a violent figure from her past.... Despite an unflappable, subdued narrative tone, there's legitimate suspense as Julian nears Penelope's home. In cool, sinewy prose, this astute and timely novel explores the roles of beauty, art, and passion in a time of survival.
"An entrancing and prismatic debut novel by Christine Lai, set in a near future fraught with ecological collapse, Landscapes brilliantly explores memory, empathy, preservation, and art as an instrument for recollection and renewal. In the English countryside--decimated by heat and drought--Penelope archives what remains of an estate's once notable collection. As she catalogues the library's contents, she keeps a diary of her final months in the dilapidated country house that has been her home for two decades and a refuge for those who have been displaced by disasters. Out of necessity, Penelope and her partner, Aidan, have sold the house and its scheduled demolition marks the pressing deadline for completing the archive. But with it also comes the impending return of Aidan's brother, Julian, at whose hands Penelope suffered during a brief but violent relationship twenty-two years before. As Julian's visit looms, Penelope finds herself unable to suppress the past, and she clings to art as a means of understanding, of survival, and of reckoning. Recalling the works of Rachel Cusk and Kazuo Ishiguro, Landscapes is an elegiac and spellbinding blend of narrative, essay, and diary that reinvents the pastoral and the country house novel for our age of catastrophe, and announces the arrival of an extraordinarily gifted new writer"-- Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)813.6Literature English (North America) American fiction 21st CenturyWaarderingGemiddelde:
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In my reading of the novel it tries to personify this historical way of seeing violence against women in art through the character of Julian - a wealthy businessman who lacks empathy and has treated women with violence and disregard throughout his own life. We see how from childhood he has demonstrated that he feels nothing for victims of violence and has regarded material success as most important. He gets too cartoon-villainy in my view, however, such as in scenes in which he has a fascistic attitude of “cleanse the filth from the land” towards the dispossessed.
After a separation of two decades in time Julian is undertaking a journey back home to England, where the protagonist of the novel, the suggestively named Penelope, awaits his return. Penelope however is not a faithful wife but a rape victim. She is the one processing her trauma through her essays on gender violence in art history. Penelope is a more complex character than Julian seems to be, but, friends, if we are living in a time of social and environmental collapse and widespread human catastrophe and you say something to me like:
then I’m gonna roll my eyes pretty hard.
Because another aspect of the novel is it taking place in a near future of climate-change devastation, with city cores under geodesic domes and masses of displaced internal and external refugees struggling to survive. This is more of a background to the main concern of the novel - a novel that simply takes it for granted that this will be our future so that’s the context in which the story must be set. Or perhaps it’s just that this imagined possibility didn’t engage me as much as the rest of the book.
In what I saw only near the very end of the novel, Julian is on a character arc of ultimate redemption as paralleled by the programmatic movements of Mahler’s second symphony (the “Resurrection” symphony), which he is listening to throughout his scenes of the novel. I’m not so sure this works, Julian has been rather simplistically evil to be so quickly redeemed just at the end, though I have to admit that when he steps away from destroying himself in front of an oncoming train to the symphony’s sung lyric in the fifth and final movement, Bereite dich zu leben! (“Prepare to live!”), I did feel an endorphin kick.
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