Articoli correlati a The Pesthouse
During the years of America’s ascendancy, the great ships brought waves of immigrants to the promised land. In sight of the Statute of Liberty, the huddled masses disembarked in search of the American dream. In the imagined future, the great ships play a different role. In a work of outstanding originality, Jim Crace’s The Pesthouse envisions a future America in ruins and a reversal of history: desperate Americans seeking passage to the promised land of Europe.
Crace’s future United States is a lawless wasteland. The economy collapses, industry ceases, and the remaining populace returns to subsistence farming. The only hope rests with reaching the east coast and obtaining passage by ship to Europe.
Like many Americans, Franklin Lopez and his brother, Jackson, leave their farm to begin the long trek east. Within sight of their goal, Franklin is forced, by an enflamed knee, to stop. While Jackson continues forward, Franklin seeks rest in a seemingly abandoned stone building in a forest. Inside, Jackson discovers Margaret. Margaret is feverish with a deadly illness and is confined to the Pesthouse with little hope of recovery. Franklin should flee. Instead, he is drawn to Margaret and stays by her side while she sweats out the fever. After her recovery, Margaret joins Franklin on the journey east.
This journey is fraught with danger. Rule-of-law no longer exists and the land is plagued by roaming bandits and slave traders. The threat of danger slowly draws Margaret and Franklin closer to each other. A bond of love begins to form. They also draw comfort from joining a group of like-minded pilgrims. The illusion of safety is soon shattered. While resting from a day of travel, the group is taken captive by mounted bandits. Franklin is taken as a slave. On account of her recent illness, Margaret is spared along with an elderly couple and a baby. Margaret must continue on without Franklin.
A bewildered Margaret slowly pushes eastward with the elderly couple and the baby. She is eventually separated from them and must take sole responsibility for the baby. With hope fading, Margaret stumbles upon the refuge of the Ark; a religious community which provides food and shelter in exchange for denouncing all metal technologies. Margaret accepts the laws of the Ark and is allowed to enter with her baby. While safe, Margaret secretly hopes to be reunited with Franklin.
Their paths cross again under tragic circumstances. The Ark is attacked by the same mounted bandits that enslaved Franklin. While the Ark is looted and the community massacred, Margaret and her baby escape. They are reunited with Franklin by chance following a slave uprising in the vicinity of the Ark. Narrowly escaping their pursuers, Franklin, Margaret and the baby continue the journey to the East coast.
Upon finally reaching their destination, the dream is shattered. Margaret discovers there is no room for women with young children on the ships bound to Europe. There is no choice but to turn back. With the end of one dream a new one is born. Inspired by their growing love, Franklin and Margaret decide to return west, with the baby, as a family.
Jim Crace concludes “going westward, they would go free.”
Crace’s future United States is a lawless wasteland. The economy collapses, industry ceases, and the remaining populace returns to subsistence farming. The only hope rests with reaching the east coast and obtaining passage by ship to Europe.
Like many Americans, Franklin Lopez and his brother, Jackson, leave their farm to begin the long trek east. Within sight of their goal, Franklin is forced, by an enflamed knee, to stop. While Jackson continues forward, Franklin seeks rest in a seemingly abandoned stone building in a forest. Inside, Jackson discovers Margaret. Margaret is feverish with a deadly illness and is confined to the Pesthouse with little hope of recovery. Franklin should flee. Instead, he is drawn to Margaret and stays by her side while she sweats out the fever. After her recovery, Margaret joins Franklin on the journey east.
This journey is fraught with danger. Rule-of-law no longer exists and the land is plagued by roaming bandits and slave traders. The threat of danger slowly draws Margaret and Franklin closer to each other. A bond of love begins to form. They also draw comfort from joining a group of like-minded pilgrims. The illusion of safety is soon shattered. While resting from a day of travel, the group is taken captive by mounted bandits. Franklin is taken as a slave. On account of her recent illness, Margaret is spared along with an elderly couple and a baby. Margaret must continue on without Franklin.
A bewildered Margaret slowly pushes eastward with the elderly couple and the baby. She is eventually separated from them and must take sole responsibility for the baby. With hope fading, Margaret stumbles upon the refuge of the Ark; a religious community which provides food and shelter in exchange for denouncing all metal technologies. Margaret accepts the laws of the Ark and is allowed to enter with her baby. While safe, Margaret secretly hopes to be reunited with Franklin.
Their paths cross again under tragic circumstances. The Ark is attacked by the same mounted bandits that enslaved Franklin. While the Ark is looted and the community massacred, Margaret and her baby escape. They are reunited with Franklin by chance following a slave uprising in the vicinity of the Ark. Narrowly escaping their pursuers, Franklin, Margaret and the baby continue the journey to the East coast.
Upon finally reaching their destination, the dream is shattered. Margaret discovers there is no room for women with young children on the ships bound to Europe. There is no choice but to turn back. With the end of one dream a new one is born. Inspired by their growing love, Franklin and Margaret decide to return west, with the baby, as a family.
Jim Crace concludes “going westward, they would go free.”
Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.
Recensione:
A GLOBE & MAIL BEST BOOK OF 2007
“The Pesthouse exudes a kind of eerie charm.” —Time Out
“A book that I read hungrily for what it might have to say about the fix we are all in on this planet. . . . Crace’s distinctive marked rhythms, just one draft away from blank verse, are at odds with satire. He can’t quite extinguish the joy that percolates through all his writing, and The Pesthouse ends up being a lovely literary cipher in the way that Crace’s work always is.” —Joan Thomas, The Globe and Mail
“Crace brings his unsentimental but unflagging imagination to the ruined landscape and battered scavenger societies of this new America. . . . He is especially good at documenting the bodily toll that unrelenting life on the road exacts. . . . Franklin’s and Margaret’s journey, as brutal and hopeless as it often seems, transforms into a kind of allegory for the human capacity for loyalty, love, humour and imagination.” —Toronto Star
“[Crace] takes us straight to the heart of what it means to be human. . . . He has always exhibited an uncanny gift for tapping into the horrors that wake us, heart pounding, in the middle of the night. . . . It’s a tribute to Crace’s skills that we so rapidly get our bearings in a radically altered landscape.” —Francine Prose, The New York Times Book Review
“Crace has built a loyal following for the old-fashioned reason that he produces consistently dazzling work, matching sublime language with conceptual daring and an insistence on tackling the big themes head-on.” —The Gazette
“AS Byatt has described [Crace] as the most significant writer in English fiction of the past 10 years and in The Pesthouse he continues to build his self-contained worlds that, in mirroring our own in crucial, though subtle ways, offer up universal insights.” —Scotland on Sunday
“Entirely compelling. The story is a gripping, harrowing adventure tale and Crace’s language is extraordinary: he has immersed himself in his own kind of variant American idiom . . . which is simple, often beautiful, as touch and workable as leather. . . . The Pesthouse resonates like an unresolved chord.” —New Statesman
“While the plots and settings vary, Crace’s unerringly stunning style doesn’t. Even the most mundane of his characters beguile readers with their emotional authenticity and detailed psychologies. His prose carries the contours of a Donatello sculpture as Crace chisels gracefully flowing sentences with eloquence, precision and the occasional cheeky hint of the impish.” The San Francisco Chronicle
“At its heart, The Pesthouse is a meditation on deep questions about America: the costs of relentless expansion, the fate of a wasteful industrial society.” —Los Angeles Times
“Crace’s America lies not in the future but in our uneasy consciences. What’s remarkable is the fortitude, grace and patience he grants to the wary people who must make a life there, must remember and love, against all odds.” —Washington Post
“A writer of hallucinatory skill.”
—John Updike
“[Crace] has an almost uncanny ability to nail down a dramatic situation, and the characters to enact it, in one or two sentences. . .one of the best writers around.”
—Toronto Star
L'autore:
“The Pesthouse exudes a kind of eerie charm.” —Time Out
“A book that I read hungrily for what it might have to say about the fix we are all in on this planet. . . . Crace’s distinctive marked rhythms, just one draft away from blank verse, are at odds with satire. He can’t quite extinguish the joy that percolates through all his writing, and The Pesthouse ends up being a lovely literary cipher in the way that Crace’s work always is.” —Joan Thomas, The Globe and Mail
“Crace brings his unsentimental but unflagging imagination to the ruined landscape and battered scavenger societies of this new America. . . . He is especially good at documenting the bodily toll that unrelenting life on the road exacts. . . . Franklin’s and Margaret’s journey, as brutal and hopeless as it often seems, transforms into a kind of allegory for the human capacity for loyalty, love, humour and imagination.” —Toronto Star
“[Crace] takes us straight to the heart of what it means to be human. . . . He has always exhibited an uncanny gift for tapping into the horrors that wake us, heart pounding, in the middle of the night. . . . It’s a tribute to Crace’s skills that we so rapidly get our bearings in a radically altered landscape.” —Francine Prose, The New York Times Book Review
“Crace has built a loyal following for the old-fashioned reason that he produces consistently dazzling work, matching sublime language with conceptual daring and an insistence on tackling the big themes head-on.” —The Gazette
“AS Byatt has described [Crace] as the most significant writer in English fiction of the past 10 years and in The Pesthouse he continues to build his self-contained worlds that, in mirroring our own in crucial, though subtle ways, offer up universal insights.” —Scotland on Sunday
“Entirely compelling. The story is a gripping, harrowing adventure tale and Crace’s language is extraordinary: he has immersed himself in his own kind of variant American idiom . . . which is simple, often beautiful, as touch and workable as leather. . . . The Pesthouse resonates like an unresolved chord.” —New Statesman
“While the plots and settings vary, Crace’s unerringly stunning style doesn’t. Even the most mundane of his characters beguile readers with their emotional authenticity and detailed psychologies. His prose carries the contours of a Donatello sculpture as Crace chisels gracefully flowing sentences with eloquence, precision and the occasional cheeky hint of the impish.” The San Francisco Chronicle
“At its heart, The Pesthouse is a meditation on deep questions about America: the costs of relentless expansion, the fate of a wasteful industrial society.” —Los Angeles Times
“Crace’s America lies not in the future but in our uneasy consciences. What’s remarkable is the fortitude, grace and patience he grants to the wary people who must make a life there, must remember and love, against all odds.” —Washington Post
“A writer of hallucinatory skill.”
—John Updike
“[Crace] has an almost uncanny ability to nail down a dramatic situation, and the characters to enact it, in one or two sentences. . .one of the best writers around.”
—Toronto Star
Jim Crace was born in Hertfordshire, England, in 1946. He is the author of eight previous novels, including Continent, Quarantine, and Being Dead. A.S. Byatt has described Crace as the most significant writer in English fiction of the last ten years. A former journalist, Crace is widely recognized as a highly innovative and original writer, springing comparisons with Calvino, Nabokov and Garcia Marquez. His works have received numerous awards, including the Whitbread Award for Best First Novel and the National Book Critics’ Circle Fiction Award. His works Quarantine and Being Dead were both shortlisted for the Booker Prize. Crace was awarded the E.M. Forster Award by the American Academy of Arts and Letters in 1992 and became a Fellow of the Royal Society of Literature in 1999. Jim Crace currently lives in Birmingham, England, with his wife and two children.
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- EditoreBond Street Books
- Data di pubblicazione2007
- ISBN 10 0385662637
- ISBN 13 9780385662635
- RilegaturaCopertina rigida
- Numero di pagine272
- Valutazione libreria
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