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Chargement... The Loverspar Vendela Vida
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Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. An unusual story. And I have an idea that could be said about all her novels. I read this book after hearing her interviewed about another of her books and I found her interesting. Likewise this book is interesting but perhaps a little too much a 'head level' book rather than the 'heart level' that I prefer. That said, however, it's a story that can be read and understood at a surface level so although I'm sure there is a lot of subtle intellectual content I didn't get at all, I still found the story engaging enough. What I liked most was the way Vida presents her main character's thoughts and feelings as well as telling us the story of what she does. I'm interested in Turkey, as well, and that undoubtedly helped me engage with the story. It gave insights into what Turkish people might be like, in a way that sounded true, anyway. I notice my local library has another of Vida's books (The Diver's Clothes Lie Empty - the book about which I heard her interviewed) so I think I'll read that next before I decide whether to keep Ms Vida on my TBR list In The Lovers, Yvonne, 53, travels from her home in Burlington, Vermont to the Turkish town of Datça where she spent her honeymoon with her husband Peter, killed two years earlier in a hit-and-run accident. She was hoping to come to terms with the truth of her marriage - especially to remember again the happiness that characterized it at the beginning, and to emerge from the catatonic state in which she has been since Peter’s death: "…she had come to Datça to strip herself of these lies, to shed this grief. The grief and the lies were the same - one begot the other.” She finds that the small town of Datça had deteriorated, analogous to the way her marriage had. Much of the conflict between Yvonne and Peter was over their twins, Matthew and Aurelia. Matthew was “perfect” and the one on whom Peter bestowed his favor. Aurelia was damaged, subject to alcohol and drug addiction, and Peter seemed to blame Yvonne. Even when the children grew up and left the house, “they had grown so accustomed to resenting each other that they didn’t know how to stop.” In Turkey Yvonne encounters some rather eccentric people, such as the estranged wife Özlem of her proprietor; a local boy Ahmet who sells seashells to her; Ahmet’s sister; and another vacationing American couple. All of them serve to give insights about herself to Yvonne. Eventually, Yvonne gets some answers about her life, but they weren’t answers to the questions she came with; she had been blinded all along by the wrong questions. Discussion: This is a short novel, with spare but well-crafted writing. The primary theme seems to be the way in which we define ourselves through our relationships, and how these ideas of who we are and who the others are in our lives may get embedded in old patterns - almost like those paperweights of insects stuck in amber, that then go on to hold down our growth in the same fixed and stuck way. In addition, these definitions affect the evaluations of us by others; how does one escape such enmeshment? In the biggest metaphor of the book, an owl, bereft of its mate (owls are monogamous), becomes trapped in the house which Yvonne is renting. The owl eventually gets loose; whether Yvonne does too remains to be seen. Evaluation: This is a thought-provoking meditation on sense of self and the importance of relationships to one’s identity. The characters struck me as rather odd though; I didn't really warm up to them. Moreover, some of the plot developments are sort of enigmatic and/or get dropped. In addition, I found the ending to be a bit improbable. Nevertheless, I would recommend it for a book club, because it would definitely generate discussion. Yvonne, a widow, returns to the small Turkish village where she and her husband spent their honeymoon. Her daughter is an alcoholic; her son has just been proposed to by a wealthy woman. Yvonne is determined to find her way alone. But what happens in this village connects her to Turkey in ways she didn’t expect, including her conviction that she is responsible for a boy’s death. It is worth reading if only to question your own ability to be as independent and determined as Yvonne
A middle-aged widow returns to the Turkish seaside town where she and her husband honeymooned twenty-eight years before, only to find the place gone to seed, haunted by sunburned Germans and mangy cats. At every turn, she is ambushed by evidence of other people's love, or lust, anyway. The owner of her rented villa has neglected to stow his sex swing or a naked photograph of his girlfriend; later, his estranged wife appears and too quickly divulges the secrets of their marriage. In a definitively bleak detail, even a spoon from the local ice-cream parlor tastes of "a century of tongues." Vida has made a specialty of lives in abeyance--this is her third novel in which a woman goes abroad in search of herself--and for much of the book her heroine simply drifts. It feels jarring, then, when, near the end, something happens and her character hurtles toward epiphany. Yvonne, a Vermont schoolteacher whose husband was killed by a heedless driver, makes a pilgrimage back to the Turkish seaside town where they honeymooned. But her journey and her judgment are distorted by grief. She rents a house that comes with an intrusive cast of characters and cultivates a lad who isn't the waif she imagined. Quietly provocative, The Lovers explores the perils of self-involvement and the ease with which we destroy one another's lives. In Vida's third novel, a middle-aged woman, grieving over the death of her husband, returns to the village in Turkey where they honeymooned. Yvonne, both dignified and terrifically vulnerable, makes for a moving companion throughout this dreamy story of reawakening. Vida has a cinematic flair for storytelling. Of the desiccated town to which Yvonne returns, she writes, "It had been looted by tide and tourists and the scalding sun that robbed boats of their color." The character wrestles with her many identities--widow, woman, teacher, mother--as she struggles to see herself with clarity. It's a novel that demands a movie version starring Meryl Streep. A− Is it wise to return to the scene of your honeymoon after the sudden death of your spouse? That's what Yvonne, a seemingly sensible history teacher, decides to do in Vida's polished and unnerving third novel. Founding coeditor of the Believer, winner of the Kate Chopin Writing Award, and coauthor of the screenplay for Away We Go (2009), Vida has created a brilliant, topsy-turvy, twenty-first-century variation on E. M. Forster's Passage to India. Dodging her adult children, the mismatched twins glossy Matthew and rehab-veteran Aurelia, Yvonne, in deep shock, rents a fancy house on the coast of Turkey built by the landlord for his mistress. Yvonne is befriended by Ozlem, the landlord's aggressively inquisitive ex-wife, and becomes attached to Ahmet, a boy who collects and sells seashells. As she tries to adjust to widowhood while navigating perplexing social situations and painful memories, things go disastrously wrong. Vida creates an atmosphere at once molten and chilling as she deftly exposes the wounding reverberations of timeless conflicts between men and women, parents and children, East and West, appearance and truth. An elegant consideration of how death and distance tightens human connections--a big theme that Vida addresses with sure-footedness and charm. Distinctions
Comme dans les oeuvres de Paul Bowles, se mèlent à l'itinéraire de cette femme, qui se révèle à elle-mème, tension narrative et étrangeté... Captivant et surprenant... Joyce Carol Oates Veuve depuis peu, Yvonne, la cinquantaine, accepte l'invitation de ses enfants à une croisière en Méditerranée. Avant de retrouver les siens, elle a décidé de séjourner une semaine seule à Datça, sur la côte turque, où elle avait passé sa lune de miel vingt-huit ans auparavant, pour se replonger dans le souvenir des jours heureux. Ces souvenirs la perturbent plus qu'ils ne lui apportent de réconfort, et le séjour, avec son cortège de rencontres insolites, ne se déroule pas comme prévu. Il n'y a guère qu'avec Ahmet, petit pècheur de coquillages qui ne parle pas un mot d'anglais, qu'Yvonne parvient à oublier ses soucis. Jusqu'à ce qu'un tragique accident vienne semer le chaos dans sa vie... Dans ce livre troublant et sensible, Vendela Vida, l'auteur remarquée de Sans gravité, réussit un très beau portrait de femme. Sa prose détachée et sobre, sa finesse d'observation, restituent la grâce et les zones d'ombre des sentiments, et la quète intérieure qu'évoque le voyage. Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)813.6Literature English (North America) American fiction 21st CenturyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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"I guess that's true," Yvonne said, trying to decide if it was. (pg. 37)
Vida seems like she's written this book trying to decide if the above quote is true. Something both does and does not happen so I'm not sure where her stance lands. The love story in this is kind of whimsical which I liked. It would be a good quick read for a day at the beach as I flew through it and it also happens to be beach related! As a woman who does often travel alone I liked hearing about Yvonne's experience. Some lovely descriptions of Turkey, a pretty solid voice for the main character but the other characters fall flat and the story has a bit of a lull in the middle.
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