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Sto caricando le informazioni... The mezzanine (originale 1988; edizione 1990)di Nicholson Baker
Informazioni sull'operaL' ammezzato di Nicholson Baker (1988)
  
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 Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro.  junifyr | Jun 24, 2024 |   Throughout the text, the narrator Howie attempts to forge a connection between his personal identity and his function within the larger corporation. The narrator’s manic attention to detail, which shifts the observations from minuscule levels to larger implications, sets the scene for Baker’s exploration of the neoliberalization critique on commodities and consumption. The novel is overwhelmingly interested in a class of commodities that very few of us tend to think of as commodities (office supplies, shoelaces, straws, etc.). These are often things that seemingly “no one” buys (and certainly no one fetishizes). Office supplies are just always, as though by magic, “there.” Shoelaces come prepackaged with shoes; straws are complementary add-ons to our sodas. Moreover, the novel then goes on to imbue these commodities with long involved back-stories. For Baker, every object has a story to tell, but that even as these stories may be compelling or plausible, there is no evidence that they are the right stories. They’re just Howie’s stories about them. Here is where the novel both intersects with and departs from a more Marxist account of alienation through the commodity fetish. (  ) junifyr | Jun 24, 2024 | Throughout the text, the narrator Howie attempts to forge a connection between his personal identity and his function within the larger corporation. The narrator’s manic attention to detail, which shifts the observations from minuscule levels to larger implications, sets the scene for Baker’s exploration of the neoliberalization critique on commodities and consumption. The novel is overwhelmingly interested in a class of commodities that very few of us tend to think of as commodities (office supplies, shoelaces, straws, etc.). These are often things that seemingly “no one” buys (and certainly no one fetishizes). Office supplies are just always, as though by magic, “there.” Shoelaces come prepackaged with shoes; straws are complementary add-ons to our sodas. Moreover, the novel then goes on to imbue these commodities with long involved back-stories. For Baker, every object has a story to tell, but that even as these stories may be compelling or plausible, there is no evidence that they are the right stories. They’re just Howie’s stories about them. Here is where the novel both intersects with and departs from a more Marxist account of alienation through the commodity fetish. ( ) junifyr | Jun 24, 2024 | Throughout the text, the narrator Howie attempts to forge a connection between his personal identity and his function within the larger corporation. The narrator’s manic attention to detail, which shifts the observations from minuscule levels to larger implications, sets the scene for Baker’s exploration of the neoliberalization critique on commodities and consumption. The novel is overwhelmingly interested in a class of commodities that very few of us tend to think of as commodities (office supplies, shoelaces, straws, etc.). These are often things that seemingly “no one” buys (and certainly no one fetishizes). Office supplies are just always, as though by magic, “there.” Shoelaces come prepackaged with shoes; straws are complementary add-ons to our sodas. Moreover, the novel then goes on to imbue these commodities with long involved back-stories. For Baker, every object has a story to tell, but that even as these stories may be compelling or plausible, there is no evidence that they are the right stories. They’re just Howie’s stories about them. Here is where the novel both intersects with and departs from a more Marxist account of alienation through the commodity fetish. ( ) junifyr | Jun 24, 2024 | Moments of greatness, but I think it ended up less than the sum of its parts. (  ) 3Oranges | Jun 24, 2023 |
 'Mezzanine' Takes the Trappings of Everyday Life to the Next Level For all of his stunts and goofing, Baker manages to reconcile literature with the most mundane aspects of our daily lives, to nail onto the page stuff that usually doesn't make it into books. Here we don't read "our own rejected thoughts," in Emerson's formulation, but rather those which never even reached the level of rejection, fleeting observations of the kind that barely puncture consciousness. The result, while reading, is a delightful sense of déjà pensé, and, after the book is closed, a residual heightened awareness, a feeling that we've been paying more attention to the world than we thought. Elenchi di rilievo
In his startling, witty, and inexhaustibly inventive first novel first published in 1986 and now reissued as a Grove Press paperback the author of Vox and The Fermata uses a one-story escalator ride as the occasion for a dazzling reappraisal of everyday objects and rituals. From the humble milk carton to the act of tying one's shoes, The Mezzanine at once defamiliarizes the familiar world and endows it with loopy and euphoric poetry. Nicholson Baker's accounts of the ordinary become extraordinary through his sharp storytelling and his unconventional, conversational style. At first glance, The Mezzanine appears to be a book about nothing. In reality, it is a brilliant celebration of things, simultaneously demonstrating the value of reflection and the importance of everyday human experiences. Non sono state trovate descrizioni di biblioteche |
Discussioni correntiNessunoCopertine popolari
 Google Books — Sto caricando le informazioni...GeneriSistema Decimale Melvil (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999Classificazione LCVotoMedia: (3.95)
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Throughout the text, the narrator Howie attempts to forge a connection between his personal identity and his function within the larger corporation. The narrator’s manic attention to detail, which shifts the observations from minuscule levels to larger implications, sets the scene for Baker’s exploration of the neoliberalization critique on commodities and consumption.
The novel is overwhelmingly interested in a class of commodities that very few of us tend to think of as commodities (office supplies, shoelaces, straws, etc.). These are often things that seemingly “no one” buys (and certainly no one fetishizes). Office supplies are just always, as though by magic, “there.” Shoelaces come prepackaged with shoes; straws are complementary add-ons to our sodas. Moreover, the novel then goes on to imbue these commodities with long involved back-stories. For Baker, every object has a story to tell, but that even as these stories may be compelling or plausible, there is no evidence that they are the right stories. They’re just Howie’s stories about them. Here is where the novel both intersects with and departs from a more Marxist account of alienation through the commodity fetish. (