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Sto caricando le informazioni... The Ocean at the End of the Lane: A Novel (originale 2013; edizione 2013)di Neil Gaiman (Autore)
Informazioni sull'operaL'oceano in fondo al sentiero di Neil Gaiman (2013)
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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. Premi e riconoscimentiMenzioniElenchi di rilievo
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. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)823.914Literature English English fiction Modern Period 1901-1999 1945-1999Classificazione LCVotoMedia:
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Gaiman ha scritto un romanzo pieno di quelle cose che nell’infanzia ci mandano in brodo di giuggiole, anche se a volte ci spaventano a morte: mi ricordo di fantasmi nei sotterranei della scuola (lunga storia), di ritrovamenti di antiche lettere (un banale foglio di carta volato da una finestra e maltrattato dal mondo esterno) e di giardini segreti («Non dovete andare di là, non possiamo tenervi d’occhio lì» non ha mai fermato nessunu bambinu).
Crescere è un lavoro sporco e spesso non ci riesce neanche troppo bene: così finiamo per portarci nell’età adulta tutta una serie di zoppie con le quali cerchiamo di convivere, o addirittura guarire se abbiamo fortuna. Il protagonista de L’oceano in fondo al sentiero vive una di quelle avventure che stravolgono una vita, continuando a influenzarla anche quando gli eventi si perdono nelle nebbie del tempo.
Ho amato molto il modo in cui il sovrannaturale entra in questa storia e la naturalezza con la quale viene accettato da un bambino che sa perfettamente quando è il caso di disubbidire ai genitori e di dare retta ai consigli della migliore amica. Quando poi la famiglia della suddetta migliore amica è composta da donne che sanno il fatto loro non c’è storia: bisogna affidarsi alla loro maestria e alla loro saggezza. ( )