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It began for our narrator forty years ago when the family lodger stole their car and committed suicide in it, stirring up ancient powers best left undisturbed. Dark creatures from beyond the world are on the loose, and it will take everything our narrator has just to stay alive: there is primal horror here, and menace unleashed - within his family and from the forces that have gathered to destroy it. His only defense is three women, on a farm at the end of the lane. The youngest of them claims that her duckpond is ocean. The oldest can remember the Big Bang.… (plus d'informations)
BookshelfMonstrosity: These atmospheric coming-of-age tales are magical and poignant as they dance around issues of good and evil. Though they contain plenty of dark undercurrents, they are ultimately hopeful.
rakerman: There are similar themes of childhood and memory in The Ocean at the End of the Lane and Tom's Midnight Garden. The Ocean is a much more intense book, Midnight Garden is more wistful.
BookshelfMonstrosity: These fantasy novels featuring boys who get caught up in mystical, mysterious adventures both have dark undercurrents that create a strong atmosphere of suspense. Their vividly imagined fairy tale-like worlds make the stories both wondrous and compelling.… (plus d'informations)
Un homme vient d'enterrer un proche et revient pour l'occasion dans le Sussex, où il a passé toute son enfance. Il recherche la ferme où il avait fait la connaissance de Lettie Hempstock à l'âge de 7 ans. C'est en revoyant la mare au canard derrière la ferme qu'il va retrouver quelques souvenirs... A l'époque, il avait voyagé dans un monde parallèle effrayant. Le monstre s'était introduit en lui pour passer dans notre monde. Comment se débarrasser d'un tel monstre ? Quelles conséquences cette intrusion peut-elle avoir sur le monde tel que nous le connaissons ? et sur notre héros et son ami Lettie ? Un vrai univers de cauchemar, dans le genre fantastique car rien n'est expliqué. Ce roman fait pensé à "Coraline" car on ne peut faire confiance aux parents. Ils n'écoutent pas les enfants. Page 140 au sujet de l'éducation par les livres : " En grandissant, je fondais beaucoup ma conduite sur les livres. Ils m'enseignaient l'essentiel de ce que je savais sur le comportement des gens, sur l'attitude à avoir. Ils me servaient de professeurs et de conseillers ". ( )
Lisez. Ce. Livre. Y'a longtemps que Gaiman ne m'avait ému comme ça, avec ses univers à la limite du rêve et du cauchemar. Avec des personnages attachants, touchants, profondément humains et une intrigue jolie et qui fait rêver. J'ai failli pleurer, à la fin. Punaise. ( )
The Ocean at the End of the Lane arouses, and satisfies, the expectations of the skilled reader of fairytales, and stories which draw on fairytales. Fairytales, of course, were not invented for children, and deal ferociously with the grim and the bad and the dangerous. But they promise a kind of resolution, and Gaiman keeps this promise.
[Gaiman's] mind is a dark fathomless ocean, and every time I sink into it, this world fades, replaced by one far more terrible and beautiful in which I will happily drown.
The story is tightly plotted and exciting. Reading it feels a lot like diving into an extremely smart, morally ambiguous fairy tale. And indeed, Gaiman's adult protagonist observes at one point that fairy tales aren't for kids or grownups — they're just stories. In Gaiman's version of the fairy tale, his protagonist's adult and child perspectives are interwoven seamlessly, giving us a sense of how he experienced his past at that time, as well as how it affected him for the rest of his life.
Reading Gaiman's new novel, his first for adults since 2005's The Anansi Boys, is like listening to that rare friend whose dreams you actually want to hear about at breakfast. The narrator, an unnamed Brit, has returned to his hometown for a funeral. Drawn to a farm he dimly recalls from his youth, he's flooded with strange memories: of a suicide, the malign forces it unleashed and the three otherworldly females who helped him survive a terrifying odyssey. Gaiman's at his fantasy-master best here—the struggle between a boy and a shape-shifter with "rotting-cloth eyes" moves at a speedy, chilling clip. What distinguishes the book, though, is its evocation of the powerlessness and wonder of childhood, a time when magic seems as likely as any other answer and good stories help us through. "Why didn't adults want to read about Narnia, about secret islands and ... dangerous fairies?" the hero wonders. Sometimes, they do.
"I'm going to tell you something important. Grown-ups don't look like grown-ups on the inside, either. Outside, they're big and thoughtless and they always know what they're doing. Inside, they look just like they always have. Like they did when they were your age. The truth is, there aren't any grown-ups. Not one, in the whole world." She thought for a moment. Then she smiled. "Except for Granny, of course."
I liked myths. They weren't adult stories and they weren't children's stories. They were better than that. They just were.
Adults should not weep, I knew. They did not have mothers who would comfort them.
I woke myself in the darkness, and I knew only that a dream had scared me so badly I had to wake up or die, and yet, try as I might, I could not remember what I had dreamed. The dream was haunting me: standing behind me, present and invisible, like the back of my head, simultaneously there and not there. (p. 143)
I do not miss childhood, but I miss the way I took pleasure in small things, even as greater things crumbled. I could not control the world I was in, could not walk away from things or people or moments that hurt, but I took joy in the things that made me happy. (p. 199)
Different people remember things differently, and you'll not get any two people to remember anything the same, whether they were there or not. You stand two of you lot next to each other, and they could be continents away for all it means something. (p. 228)
Derniers mots
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Perhaps it was an afterimage, I decided, or a ghost: something that had stirred in my mind, for a moment, so powerfully that I believed it to be real, but now was gone, and faded into the past like a memory forgotten, or a shadow into the dusk.
It began for our narrator forty years ago when the family lodger stole their car and committed suicide in it, stirring up ancient powers best left undisturbed. Dark creatures from beyond the world are on the loose, and it will take everything our narrator has just to stay alive: there is primal horror here, and menace unleashed - within his family and from the forces that have gathered to destroy it. His only defense is three women, on a farm at the end of the lane. The youngest of them claims that her duckpond is ocean. The oldest can remember the Big Bang.
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Un vrai univers de cauchemar, dans le genre fantastique car rien n'est expliqué. Ce roman fait pensé à "Coraline" car on ne peut faire confiance aux parents. Ils n'écoutent pas les enfants. Page 140 au sujet de l'éducation par les livres : " En grandissant, je fondais beaucoup ma conduite sur les livres. Ils m'enseignaient l'essentiel de ce que je savais sur le comportement des gens, sur l'attitude à avoir. Ils me servaient de professeurs et de conseillers ". ( )