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""A kaleidoscopic, open-hearted, shamelessly polymathic storyteller, the kind who brings a blast of oxygen into the room."--Jonathan Lethem. An aging writer, disillusioned with the state of literary culture, attempts to disappear in the most cosmically dramatic manner: traveling to the Hadron Collider, merging with the God particle, and transforming into an omnipresent deity -- a meta-writer -- capable of rewriting reality. With biting humor and a propulsive, contagious style, amid the accelerated particles of his characteristic obsessions -- the writing of F. Scott Fitzgerald, the music of Pink Floyd and The Kinks, 2001: A Space Odyssey, the links between great art and the lives of the artists who create it -- Fresan takes us on a whirlwind tour of writers and muses, madness and genius, friendships, broken families, and alternate realities, exploring themes of childhood, loss, memory, aging, and death. Drawing inspiration from the scope of modern classics and the structural pyrotechnics of the postmodern masters, the Argentine once referred to as "a pop Borges" delivers a powerful defense of great literature, a celebration of reading and writing, of the invented parts -- the stories we tell ourselves to give shape to our world. Rodrigo Fresan is the author of nine books of fiction that together compose an expansive, interconnected fictional universe -- a complex system of storylines, resonances, and self-reference that call to mind the works of David Foster Wallace, Thomas Pynchon, and Roberto Bolano. Will Vanderhyden received fellowships from the NEA and Lannan Foundation to work on The Invented Part"--… (plus d'informations)
As much as I would like to rate this book 4 stars, I cannot. It was too clever, too deep, too fluid, too geometric, too weird. I devoured portions of it, and felt myself drowning during other portions. It took me quite a while to finish. I had to rent it from the library 4 times, and finally bought it.
Fresan's writing is unlike anything else I've read. At times he reads as polished as Bolano, and other times he examines minute concepts from multiple dimensions at once, and in a way entirely his own. I was reminded of Javier Marias, but Marias would never indulge in this kind of well-rounded discussion of modern culture. Marias is a great writer, but the subject matter he chooses is limited compared to the wide territory Fresan covers. The flow of the narrative caused my mind to manufacture its own momentum, to galavant over terrain it rarely traversed. I rarely lose sleep over books, but I had to keep flipping the light back on, picking this one back up, and reading just a few more pages. Like Marquez, there is hardly anywhere to stop a reading session. You are always, perpetually in the middle of an endless paragraph, usually lost in a sentence you think you should restart. Therefore, it encourages you continually, goads you forward, and maddens you all the while. The ideas come at you like stars after someone has engaged hyperdrive.
Remarkably, it is only part one. The Dreaming Part will be hitting retailers soon. It is an incredibly long, intricate, dense construction of pop culture references, random characters engaged in unlikely meditative, encyclopedic monologues, and there is an extreme over-reliance on similes. So, it is not hard to believe that the author went on with this mode, or that he is sitting in his room right now, adding to the stream of thoughts and impressions, and that he will continue to do so for all eternity, into the afterlife, inexhaustible. The purpose of the thing is the style. The pleasure of it comes from the impressive accumulation. Fresan does what László Krasznahorkai does, but does it more superbly, without boring you on every page. It is an exhausting read, but you will chuckle and grin through most of it.
What might have started as a gimmicky stream of writerly rap sessions morphed into scene and setting, travelled through minds peopled by celebrated personalities, literary memorabilia, trivia, movieland, and rose to unexpected heights, attaining the breadth of great literature, all the while perplexing with its vicissitudes, defying your ludicrous attempts at judging his blustery sentences. This is a book to experience, and one to revisit. And the book goes on living, even after you have finished it... ( )
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
Writing is not crypto-autobiography, and it's not current events. I'm not writing my autobiography, and I'm not writing things as they happen to me, with the exception of the use of details--thunderstorms and that sort of thing. No, it's nothing that happened to me. It's a possibility. It's an idea.
--John Cheever
I had as yet no notion that life every now and then becomes literature--not for long, of course, but long enough to be what we best remember, and often enough so that what we eventually come to mean by life are those moments when life, instead of going sideways, backwards, forward, or nowhere at all, lines out straight, tense and inevitable, with a complication, climax, and, given some luck, a purgation, as if life had been made and not happened. --Norman Maclean
People say it's not what happens in you life that matters, it's what you think happened. But this qualification, obviously, did not go far enough. It was quite possible that the central event in your life could be something that didn't happen, or something you thought didn't happen. Otherwise there'd be no need for fiction, there'd only be memoirs and histories, case histories; what happened--what actually happened to you and what you thought happened--woudld be enough. --Geoff Dyer
There's a story, always ahead of you. Barely existing. Only gradually do your attach yourself to it and feed it. You discover the carapace that will contain and test your character. You will find in this way the path of your life. [...] You learn to alter your life. [...] Everything in plain sight. --Michael Ondaatje
We see parts of things, we intuit whole things. --Iris Murdoch
Dédicace
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
For Ana and Daniel: the real part
Premiers mots
Citations
Derniers mots
Notice de désambigüisation
Directeur de publication
Courtes éloges de critiques
Langue d'origine
DDC/MDS canonique
LCC canonique
▾Références
Références à cette œuvre sur des ressources externes.
Wikipédia en anglais
Aucun
▾Descriptions de livres
""A kaleidoscopic, open-hearted, shamelessly polymathic storyteller, the kind who brings a blast of oxygen into the room."--Jonathan Lethem. An aging writer, disillusioned with the state of literary culture, attempts to disappear in the most cosmically dramatic manner: traveling to the Hadron Collider, merging with the God particle, and transforming into an omnipresent deity -- a meta-writer -- capable of rewriting reality. With biting humor and a propulsive, contagious style, amid the accelerated particles of his characteristic obsessions -- the writing of F. Scott Fitzgerald, the music of Pink Floyd and The Kinks, 2001: A Space Odyssey, the links between great art and the lives of the artists who create it -- Fresan takes us on a whirlwind tour of writers and muses, madness and genius, friendships, broken families, and alternate realities, exploring themes of childhood, loss, memory, aging, and death. Drawing inspiration from the scope of modern classics and the structural pyrotechnics of the postmodern masters, the Argentine once referred to as "a pop Borges" delivers a powerful defense of great literature, a celebration of reading and writing, of the invented parts -- the stories we tell ourselves to give shape to our world. Rodrigo Fresan is the author of nine books of fiction that together compose an expansive, interconnected fictional universe -- a complex system of storylines, resonances, and self-reference that call to mind the works of David Foster Wallace, Thomas Pynchon, and Roberto Bolano. Will Vanderhyden received fellowships from the NEA and Lannan Foundation to work on The Invented Part"--
▾Descriptions provenant de bibliothèques
Aucune description trouvée dans une bibliothèque
▾Description selon les utilisateurs de LibraryThing
Fresan's writing is unlike anything else I've read. At times he reads as polished as Bolano, and other times he examines minute concepts from multiple dimensions at once, and in a way entirely his own. I was reminded of Javier Marias, but Marias would never indulge in this kind of well-rounded discussion of modern culture. Marias is a great writer, but the subject matter he chooses is limited compared to the wide territory Fresan covers. The flow of the narrative caused my mind to manufacture its own momentum, to galavant over terrain it rarely traversed. I rarely lose sleep over books, but I had to keep flipping the light back on, picking this one back up, and reading just a few more pages. Like Marquez, there is hardly anywhere to stop a reading session. You are always, perpetually in the middle of an endless paragraph, usually lost in a sentence you think you should restart. Therefore, it encourages you continually, goads you forward, and maddens you all the while.
The ideas come at you like stars after someone has engaged hyperdrive.
Remarkably, it is only part one. The Dreaming Part will be hitting retailers soon.
It is an incredibly long, intricate, dense construction of pop culture references, random characters engaged in unlikely meditative, encyclopedic monologues, and there is an extreme over-reliance on similes. So, it is not hard to believe that the author went on with this mode, or that he is sitting in his room right now, adding to the stream of thoughts and impressions, and that he will continue to do so for all eternity, into the afterlife, inexhaustible. The purpose of the thing is the style. The pleasure of it comes from the impressive accumulation. Fresan does what László Krasznahorkai does, but does it more superbly, without boring you on every page. It is an exhausting read, but you will chuckle and grin through most of it.
What might have started as a gimmicky stream of writerly rap sessions morphed into scene and setting, travelled through minds peopled by celebrated personalities, literary memorabilia, trivia, movieland, and rose to unexpected heights, attaining the breadth of great literature, all the while perplexing with its vicissitudes, defying your ludicrous attempts at judging his blustery sentences. This is a book to experience, and one to revisit. And the book goes on living, even after you have finished it... ( )