Word: novelã
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References to Jonathan Franzen’s “eagerly anticipated third novel?? have been appearing in print for months; advance reader’s copies of The Corrections came with a letter from its highly respected editor and publisher, Jonathan Galassi, who called it “one of the very best [books] we’ve published in my fifteen years at FSG [Farrar, Straus & Giroux],” praise not to be taken lightly; the New York Times ran feature articles in both its magazine and book review; and the excitement led Time magazine...
...when Rushdie was in Harvard Square last Thursday reading from the novel for Wordsworth Books, he chose to obscure some of the more personal elements of the book (despite quipping that Fury is “entirely autobiographical—it shouldn’t really be called a novel??). Rushdie read a chapter that required his self-possessed English accent to deliver itself of the cadences of, like, American youth to comic effect. In answer to a question at the reading about the importance of dreams and fantasy in his works, Rushdie spoke about the spilling over...
Fury’s placement in the midst of the vortex of New York is the most immediately obvious change from Rushdie’s previous works. Malik Solanka, the novel??s protagonist, has, like Rushdie, recently relocated to New York after many years’ residence in England. It rapidly becomes clear that Solanka is an unashamed alter-ego to Rushdie; both have been married twice, both attended Cambridge, both were born in Bombay. It is not unreasonable to assume that the fury of the title, a fury with the ever increasing pace and inhumanity of modern...
...even this cannot redeem the novel??s slow start. Although the story is interesting, its themes of family conflict and a child’s longing for her absent father are not particularly original. And although the novel should be full of beautiful description, it leaves the reader wishing for a clearer picture of the homestead and the coastline of Portugal on which the story takes place...
...hands of familiar scribes Richard Curtis (Four Weddings and A Funeral, Notting Hill) and Andrew Davies (the BBC’s 1995 production of Pride and Prejudice), Fielding’s novel??which is literally written in the style of diary, down to the last minute—is molded into a hilarious, albeit predictable love triangle. However, in collaboration with Fielding, the writers’ increased prominence of Daniel and Darcy (even giving them a clumsy, yet satisfying fist-fight) is given at the expense of the Bridget’s quirky friends and family. First time...