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Sto caricando le informazioni... The Great Believers (2018)di Rebecca Makkai
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Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. Chicago 1985. Aids greift um sich und einer nach dem anderen sterben schwule Männer, die ihr Leben noch vor sich gehabt hätten. Eine der Hauptfiguren ist Yale, der als Kunstexperte an eine fantastische Sammlung gerät. Die alte Dame Nora, der die Sammlung gehört, war einst Künstlerin, Modell und Muse. Sie empfindet die Ähnlichkeit ihrer, der Lost Generation mit der sterbenden Generation der Gegenwart. Ein weiterer Handlungsstrang spielt im Paris von 2015. Fiona, die 1985 mit der Chicagoer Clique befreundet war, ist nun Anfang 50 und sucht in Paris ihre Tochter. Gleichzeitig besucht sie Richard, der als Fotograf berühmt ist und eine große Ausstellung hat, mit Fotos aus dem Chicago der 1980er. Ich mochte das Buch sehr. Die Menschen wachsen einem ans Herz, man versteht gut, wie es war, zu kurz zu leben, das viele Sterben. Aber auch wie es war zu überleben. Das Buch ist ergreifend und wirklich wunderbar.
...there’s a lot going on in The Great Believers, and while Makkai doesn’t always manage to make all the plates spin perfectly, she remains thoughtful and consistent throughout about the importance of memory and legacy, and the pain that can come with survival. Makkai finds surprising resonances across time and experience, offering a timely commentary on the price of memory and the role of art in securing legacies at risk of being lost. “The Great Believers” offers a grand fusion of the past and the present, the public and the personal. It’s remarkably alive despite all the loss it encompasses. And it’s right on target in addressing how the things that the world throws us feel gratuitously out of step with the lives we think we’re leading. Premi e riconoscimentiMenzioniElenchi di rilievo
-- In 1985, Yale Tishman, the development director for an art gallery in Chicago, is about to pull off an amazing coup, bringing in an extraordinary collection of 1920s paintings as a gift to the gallery. Yet as his career begins to flourish, the carnage of the AIDS epidemic grows around him. One by one, his friends are dying and after his friend Nico's funeral, the virus circles closer and closer to Yale himself. Soon the only person he has left is Fiona, Nico's little sister.Thirty years later, Fiona is in Paris tracking down her estranged daughter who disappeared into a cult. While staying with an old friend, a famous photographer who documented the Chicago crisis, she finds herself finally grappling with the devastating ways AIDS affected her life and her relationship with her daughter. The two intertwining stories take us through the heartbreak of the eighties and the chaos of the modern world, as both Yale and Fiona struggle to find goodness in the midst of disaster. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)813.6Literature English (North America) American fiction 21st CenturyClassificazione LCVotoMedia:
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This story moves from Chicago in the 1980s to Paris in 2015. And while I appreciated the 2015 chapters for how they were threaded together with the 1980s chapters, I really just wanted to stay in the chapters with Yale and Asher and Terrence—because despite this being about AIDS in the ‘80s and knowing the ending wouldn’t be pretty, I desperately wanted those brief moments of dreamlike euphoria amongst friends and lovers (before the death sentences were ultimately delivered) to live on.
One of my favorite things about this book is the way the people and politics and plot are expertly layered and connected and revealed, unfolding to show how Nora and Yale and Fiona are all united by art and war: WWI and the war of the AIDS epidemic. And so much of being caught up in a war is being witness to ugly death and then living with the absence of friends. The other side of this tragedy, though, that’s saturated throughout the story is indignation. I found myself really angry throughout this book, probably because it’s the history of my lifetime—not some “Lost Generation” narrative. And so I found myself completely incensed for how these men were shamed and treated; incensed by the randomness of the disease (who lives and who dies); incensed at our lack of knowledge and understanding and empathy and access to healthcare in the 1980s.
Like the best art and literature reveal, there’s often beauty from ashes, but this book blows up the ashes, incinerating your heart. That may not sound like a ringing endorsement (because, yes, there will be tears), but even though this is such a heartbreaking history, it’s such a worthwhile, important read.
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