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Indlæser... Life After Life: A Novel (original 2013; udgave 2013)af Kate Atkinson
Værk informationLiv efter liv af Kate Atkinson (2013)
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Well written but in the end it all just seemed futile. Urusla was able to make some adjustments that helped her and her family but they were all Etch a Sketch-ed out when she died so I was just left with the feeling of 'what's the point though?' ( ) Enjoyed it as I have all of Kate Atkinson's books. The unusual technique of losing the heroine each chapter was not a problem for me and I was just as eager to continue with her revised life and alternate events. The characters leaped off the page and took up easy residence in my imagination no matter their resolution. The writing was excellent. I loved the premise of this book, and was engaged and involved from the very first page. At every point in our lives, as heroine Ursula Todd discovers, chance, choice, the choices of others or happenstance govern the path our life follows. Kate Atkinson explores those possibilities, re-telling aspects of Ursula's story time after time as different paths are taken. The book works well in developing this idea, and it works well as a family saga too, telling the story of her sister, her three brothers, her parents and aunt, who to a lesser extent have their paths re-cast too. My only quibble came after 400 pages, when I found there were still 200 to go. I felt Atkinson had said much of what she needed to say, and that little was gained by extending the narrative. Her descriptions of blitz-damaged London were evocative and involving, whereas the latter part of the book, set in Germany, worked less well for me. This is an original book, witty and thought-provoking. I'd recommend it even more heartily if it were just a little shorter. I’ve read most of Kate Atkinson’s books, but I didn’t rush out to buy this one, as the reviews all focussed on the “branching narrative” thing and made it sound as if it would be rather gimmicky. It is gimmicky, of course, but now I finally get around to reading it (the book club picked it for this month) I have to admit that Atkinson is a good enough writer to get away with being gimmicky. It’s a very professionally assembled historical novel that gives us — multiple — convincing pictures of what it might have been like to grow up as the daughter of a middle-class Home Counties family in the first half of the 20th century. We move pretty seamlessly from a Forster-ish view of the Todd family in its idyllic outer-suburban retreat ca. 1910 to a Stephen Spender view of the London Blitz (plus additional graphic horror that no-one writing at the time would have put in, but which we need because most of us nowadays haven’t actually lived through that kind of experience ourselves). Along the way, Atkinson gets us to think about things like the position of domestic servants, violence against women, and the limitation of educational and career opportunities for girls, all without ever seeming to be pressing any obviously anachronistic buttons. (Atkinson is from a similar background and generation to me, and her knowledge about England in the first half of the century must come from much the same kind of sources as mine, so it’s perhaps not surprising that it all rings so true…) I’m not sure if the “multiple lives” thing actually adds much, but perhaps it does allow Atkinson to play with a wider range of ideas and settings than might comfortably have fitted into a simple linear narrative. And it does raise some interesting ideas about the arbitrariness of the kind of small events that dictate how our lives will turn out, even if we ignore all the slightly silly reincarnation and déjà-vu and “what if I went back to assassinate Hitler?” stuff.
I absolutley loved Life After Life. It's so brilliant and existential, and I really responded to all of the 'what ifs' and 'if onlys' that she plays with. Atkinson’s juggling a lot at once — and nimbly succeeds in keeping the novel from becoming confusing. For the other extraordinary thing is that, despite the horrors, this is a warm and humane book. This is partly because the felt sense of life is so powerful and immediate. Whatever the setting, it has been thoroughly imagined. Most of the characters are agreeable. They speak well and often wittily. When, like Ursula’s eldest brother, Maurice, they are not likeable, they are treated in the spirit of comedy. The humour is rich. Once you have adapted yourself to the novel’s daring structure and accepted its premise that life is full of unexplored possibilities, the individual passages offer a succession of delights. A family saga? Yes, but a wonderful and rewarding variation on a familiar form. This is, without doubt, Atkinson’s best novel since her prizewinning debut, Behind the Scenes at the Museum, and a serious step forwards to realising her ambition to write a contemporary version of Laurence Sterne’s Tristram Shandy. A ferociously clever writer, she has recast her interest in mothers and daughters and the seemingly unimportant, quotidian details of life to produce a big, bold novel that is enthralling, entertaining and experimental. It is not perfect – the second half of the book, for example, could have done with one less dead end – but I would be astonished if it does not carry off at least one major prize. Aficionados of Kate Atkinson's novels – this is the eighth – will tell you that she writes two sorts: the "literary" kind, exemplified by her Whitbread Prize-winning debut Behind the Scenes at the Museum, and the Jackson Brodie crime thrillers. In reality, the distinction is superfluous. Atkinson is a literary writer who likes experimenting with different forms, and her books appeal to a huge audience, full stop. However, for those still keen on these discriminations, Life After Life is one of the "literary" ones. As with the Brodies, Atkinson steers with a light touch, despite the grimness of the subject matter...The novels of Kate Atkinson habitually shuffle past and present, but Life After Life takes the shuffling to such extremes that the reader has to hold on to his hat. It's more than a storytelling device. Ursula and her therapist discuss theories of time. He tells her that it is circular, but she claims that it's a palimpsest. The writer has a further purpose. Elsewhere, Atkinson is quoted as saying: "I'm very interested in the moral path, doing the right thing." It's impossible not to be sympathetic toward Ursula, who yearns to save the people she loves and has been blessed – or cursed – with the ability to do it. HæderspriserDistinktionerNotable Lists
I 1910 fødes Ursula uden at vide, at hendes liv bliver formet af evnen til at leve det om og om igen. Med 1900-tallets store begivenheder som baggrund, lever hun sine forskellige skæbner tæt på kærlighed og krig. Ingen biblioteksbeskrivelser fundet. |
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Google Books — Indlæser... GenrerMelvil Decimal System (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999LC-klassificeringVurderingGennemsnit:
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