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The Children's Book (originale 2009; edizione 2009)

di A.S. Byatt (Autore)

Utenti	Recensioni	Popolarità	Media voti	Conversazioni / Citazioni
3,804	210	3,245	(3.81)	1 / 686
When Olive Wellwood's oldest son discovers a runaway named Philip sketching in the basement of the new Victoria and Albert Museum--a talented working-class boy who could be a character out of one of Olive's magical tales--she takes him into the storybook world of her family and friends--a world that conceals more treachery and darkness than Philip has ever imagined and that will soon be eclipsed by far greater forces.… (altro)

▾Informazioni sul libro

Utente:	burritapal
Titolo:	The Children's Book
Autori:	A.S. Byatt (Autore)
Info:	Knopf (2009), Edition: 1, 688 pages
Collezioni:	La tua biblioteca, In lettura
Voto:
Etichette:	to-read

Informazioni sull'opera

Il libro dei bambini di A. S. Byatt (2009)

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▾Utenti

Aggiunto di recente da

laurenhaag, JoeB1934, Vanshivan, despard, claireb, guttmano, Conway_Library, JFBCore, Lokileest, JFB87

▾Etichette

▾Consigli di LibraryThing

▾Consigli degli utenti

110
Guerra e pace di Leo Tolstoy (WoodsieGirl)
WoodsieGirl: The more I read of The Children's Book, the more it reminded me of War and Peace - the same juxtaposition of small-scale, human dramas against the sweep of history, and the same knack for introducing characters as children who are recognisably the same people as the adults at the end of the book.… (altro)
80
Espiazione di Ian McEwan (BookshelfMonstrosity)
81
Il giardino dei segreti di Kate Morton (rbtanger)
rbtanger: Similar in time frame to The Children's Book, but with a much more satisfactory central mystery and ending. Also contains a fairy-tale authoress and several inserted "tales".
10
Zucchero ghiaccio vetro filato di A.S. Byatt (KayCliff)
KayCliff: The genesis of "The Children's Book" can be seen in the short story, "The Changeling".
10
Little, Big di John Crowley (Crypto-Willobie)
10
Vita dopo vita di Kate Atkinson (kiwiflowa)
00
The Chemistry of Tears di Peter Carey (JoEnglish)
00
Tempest-Tost di Robertson Davies (Cecilturtle)
00
Jonathan Strange & Mr Norrell di Susanna Clarke (Crypto-Willobie)
00
The Lake House di Kate Morton (kethorn23)
24
Wolf Hall di Hilary Mantel (kidzdoc)

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	2015 Category Challenge: ***Group Read of The Children's Book by A.S. Byatt	43 non letti / 43	jennybhatt, Aprile 2015

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▾Recensioni di utenti

Inglese (192) Olandese (6) Spagnolo (3) Italiano (2) Lettone (1) Francese (1) Tedesco (1) Norvegese (1) Catalano (1) Tutte le lingue (208)

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Bellissimo libro: e’ assolutamente da leggere. Io sono una grande ammiratrice di Antonia Byatt ed aspetto ogni sua nuova opera con impazienza e fiducia. Il “libro dei bambini” non ha deluso le mie aspettative, anzi, e’ un libro molto bello , da leggere lentamente, su cui soffermarsi assaporandone il linguaggio, le descrizioni, la ricchezza narrativa. Un libro da leggere come in una visita nelle stanze piene di tesori del Victoria & Albert Museum che serve da sfondo per i personaggi del romanzo. Le storie narrate iniziano a fine 800, con il crepuscolo dell’ era vittoriana, e terminano con la fine della prima guerra mondiale, e raccontano la fine dell’età dell’innocenza, per quelli che erano bambini a chiusura del secolo, per la società privilegiata di intellettuali che vivono di parole e di idealismo nelle pagine del libro, per una nazione intera che piange una generazione di giovani caduti in una guerra che si pensava facile e quasi “spensierata” e che si e’ rivelata essere invece la tomba fisica e morale di un’ epoca. E’ impressionante il lavoro di ricerca che deve essere stato fatto su tantissimi temi – dalle fiabe per bimbi alle vicende delle suffragette, alla esposizione universale di Parigi , in cui compare un Oscar Wilde ormai distrutto. Tutto cio’ sullo sfondo di storie che si intrecciano e che regalano “..un romanzo di favole e di amore, di passione, anzi di passioni, intricate, interrotte o sognate…” (

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mara4m | Jun 13, 2011 |

Una lettura impegnativa ma piacevole : il mistero della scrittura dell'autrice si snoda attraverso i canali paralleli di una storia narrata e altre potenziali ed infinite. (

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MARIAGIOIA | Dec 20, 2010 |

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▾Recensioni da fonti esterne

15 recensioni

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thingScore 70

The novel has a tendency to sprawl, with too many characters and too much to say. Yet Byatt takes tender care with the reader. She is a careful guide, and though this entry is at times a lot to process, it’s a worthwhile journey.

aggiunto da WeeklyAlibi | modificaWeekly Alibi, Erin Adair-Hodges (Dec 31, 2009)

While Byatt’s engagement with the period’s overlapping circles of artists and reformers is serious and deep, so much is stuffed into “The Children’s Book” that it can be hard to see the magic forest for all the historical lumber — let alone the light at the end of the narrative tunnel. The action is sometimes cut off at awkward moments by ponderous newsreel-style voice-over or potted lectures in cultural history. Startling revelations are dropped in almost nonchalantly and not picked up again until dozens or even hundreds of pages later. Byatt’s coda on the Great War, dispatched in scarcely more pages than the Exposition Universelle, is devastating in its restraint. But too often readers may feel as if they’re marooned in the back galleries of a museum with a frighteningly energetic docent.

aggiunto da Shortride | modificaThe New York Times, Jennifer Schuessler (Oct 11, 2009)

Byatt’s characters are themselves her dutiful puppets, always squeezed and shaped for available meaning. The Children’s Book has a cumulative energy and intelligence, and the unavoidable scythe of the Great War brings its own power to the narration, but nowhere in its hundreds of pages is there a single moment like the Countess Rostova’s free and mysterious irritation.

aggiunto da jburlinson | modificaLondon Review of Books, James Wood (sito a pagamento) (Oct 8, 2009)

As in her Booker Prize–winning novel, Possession, here Byatt has constructed a complete and complex world, a gorgeous bolt of fiction, in this case pinned to British events and characters from the 1870s to the end of the Great War...the magic is in the way Byatt suffuses her novel with details, from the shimmery sets of a marionette show to clay mixtures and pottery glazes.

aggiunto da Shortride | modificaThe Atlantic (Oct 1, 2009)

It begins with the discovery of a boy hiding in a museum.

The time is 1895, the boy is Philip Warren, and the museum is the precursor to the Victoria & Albert: the South Kensington Museum. And, oh, yes –there’s a remarkable piece of art that the boy is besotted with — the Gloucester Candlestick. However, while this may make many children’s book mavens think immediately of E. L. Konigsburg’s classical story for children, let me say straight out — A. S. Byatt’s The Children’s Book is a book for grown-ups. It is emphatically not a children’s book although it is about children, about books, about art, about the writing of children’s books, about the telling of children’s stories, about the clash between life and art, and about a whole lot more. A saga of a book teeming with complex characters, fascinating settings, intellectual provocations, and erudite prose, it gets under your skin as you get deeper and deeper into it and won’t let you go even after you reach the last page....

aggiunto da avatiakh | modificaeducating alice blog, Monica Edinger (Aug 18, 2009)

If the bestselling Possession (1990) was Byatt’s critique of the Golden Age of high Victorianism, then The Children’s Book, in spite of arriving nearly two decades later, follows from it organically: it is a complementary dissection of the cultural myths, peculiarities and obsessions of the Silver Age that followed. . . As the book unfolds, the fairy-tale patterns proliferate in ever wilder arcs, like the brambles around an enchanted castle. . . The Children’s Book is an eloquent testament to the dangerous power of both art and myth.

aggiunto da christiguc | modificaThe Times Literary Supplement, Elizabeth Lowry (May 13, 2009)

It will probably never be said of Byatt's writing that she wears her learning lightly, and her lengthy disquisitions on the building blocks of her narrative both support and bloat the novel . . . But Byatt is brilliant on the gathering forces of England and Germany at the beginning of the 20th century, their contrasting attitudes towards the part that the land plays in the collective unconscious, their differing forms of nostalgia.

aggiunto da christiguc | modificaThe Guardian, Alex Clark (May 9, 2009)

But her need to elaborate the elements of her fictional world independently hampers their ability to combine. It takes even this astonishingly accomplished writer a long time to bring one vast sub set of characters to a simmer, and by the time we go back to the last lot they've gone cold again. . . There is a potentially fatal unwillingness to trust the reader to get the point or the full range of reference. . . The feverish desire to have nothing be missed can only be self-defeating. A gravely eloquent sentence about a bereaved mother's perception of her son's image everywhere, at every age – "They were all equally present because they were all gone" – loses some of its force when four of the 10 words are italicised.

aggiunto da christiguc | modificaThe Observer, Adam Mars-Jones (May 3, 2009)

Her new novel, The Children’s Book, is the book Byatt wanted Harry Potter to be. . . It’s the sort of high-concept rarefied intellectual fiction we’d expect from, well, AS Byatt. Possession: the next generation.

aggiunto da christiguc | modificaFinancial Times, Sophie Gee (May 2, 2009)

Byatt's technique is to allow each individual or group a brief limelight and then to move on, picking up their story maybe many pages later. This makes for an exciting pace and rhythm. The downside is that important plotlines and events can lose impact. . . Her research is phenomenal, as she attempts to make the reader share precisely (a word she uses repeatedly) the world that her characters inhabit. . . Prodigious as it is, the effect, like A S Byatt's descriptions of the Paris Exposition, is to glut the reader with a superfluity of wonders.

aggiunto da christiguc | modificaLiterary Review, Pamela Norris (May 1, 2009)

Every character in this extraordinarily rich book is superbly embedded in the thoughts and beliefs and feelings of the period . . . At times, the impulse toward comprehensiveness does lack balance. . . But this is ungrateful. We are given characters that live through, without being merely defined by, their times; and engrossing narrative arcs that draw in the reader.

aggiunto da christiguc | modificaThe Spectator, Caroline Moore (Apr 29, 2009)

The Children’s Book is a richly allusive text. . . The narrative vigour and passionate engagement with the human condition that has always informed Byatt’s writing ensures that one can approach The Children’s Book in perfect ignorance of Nesbit, Gill or any of the social, political and artistic convulsions of the Edwardian era and still miss nothing of its astonishing power and resonance.

aggiunto da christiguc | modificaThe Telegraph, Jane Shilling (Apr 26, 2009)

Easily the best thing AS Byatt has written since her Booker-winning masterpiece, Possession (1990), it shares strong affinities with it.

aggiunto da christiguc | modificaThe Sunday Times, Peter Kemp (Apr 26, 2009)

This is a long, packed novel, deliberately discursive and crammed to the gills with knowledge about subjects . . . The panoramic quality of The Children's Book is achieved at some cost to brilliance of characterisation and narrative drive. Its success is as a novel of ideas, forcefully and often memorably expressed.

aggiunto da christiguc | modificaThe Times, Helen Dunmore (Apr 24, 2009)

It is a bulging, if not baggy book, and every Victorian and early Edwardian theme is here . . . For all its factual richness, I doubt whether Byatt found it necessary to do much research for this novel: she is a highly informed person in many fields. To that extent, it is a book of useful knowledge, as well as being a seductive tale; an improving book, in a word.

aggiunto da christiguc | modificaNew Statesman, George Walden (Apr 23, 2009)

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▾Altri autori

» Aggiungi altri autori (10 potenziali)

Nome dell'autore	Ruolo	Tipo di autore	Opera?	Stato
Byatt, A. S.	—	autore primario	tutte le edizioni	confermato
Juva, Kersti	Traduttore	autore secondario	alcune edizioni	confermato
McKenzie, Nicolette	Narratore	autore secondario	alcune edizioni	confermato
Parker, Stephen	Progetto della copertina	autore secondario	alcune edizioni	confermato
Stevenson, Juliet	Narratore	autore secondario	alcune edizioni	confermato

▾Relazioni tra serie ed opera

Appartiene alle Collane Editoriali

Baabel

▾Premi e riconoscimenti

Premi e riconoscimenti

Booker Prize (Lista completa – 2009)

Dublin Literary Award (Lista completa – 2011)

Exclusive Books Boeke Prize (Lista breve – 2009)

James Tait Black Memorial Prize (Vincitore – Narrativa – 2009)

Salon Book Award (Narrativa – 2009)

Yasnaya Polyana Literary Award - Foreign Literature (2016)

Menzioni

Amazon's Best Books of the Year (2009)

Christian Science Monitor Best Book (Narrativa – 2009)

Historical Novel Society Editors' Choice (Literary)

San Francisco Chronicle Best Book of the Year (Narrativa – 2009)

Elenchi di rilievo

1001 Books You Must Read Before You Die (2010/2012 Edition)

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▾Informazioni generali

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Per maggiori spiegazioni, vedi la pagina di aiuto delle informazioni generali.

Titolo canonico

Il libro dei bambini

Titolo originale

The Children's Book

Titoli alternativi

Data della prima edizione

2009-05-07

Personaggi

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Luoghi significativi

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London, England, UK

Victoria and Albert Museum, London, England, UK

Kent, England, UK

Paris, France

Munich, Bavaria, Germany

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Eventi significativi

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World War I

Exposition Universelle (1900)

Film correlati

Epigrafe

Dedica

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For Jenny Uglow

Incipit

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Two boys stood in the Prince Consort Gallery, and looked down on a third. It was June 19th, 1895.

Citazioni

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"So dangerous, don't you think, giving romantic names to little scraps who may grow up as plain as doorposts."

She didn't like to be talked about. Equally, she didn't like NOT to be talked about, when the high-minded chatter rushed on as though she wasn't there. There was no pleasing her, in fact. She had the grace, even at eleven, to know there was no pleasing her. She thought a lot, analytically, about other people's feelings, and had only just begun to realise that this was not usual, and not reciprocated.

She was not really a playwright. The auditions taught her that. A true playwright makes up people who can be inhabited by actors. A storyteller makes shadow people in the head, autonomous and complete.

She had the feeling writers often have when told perfect tales for fictions, that there was too much fact, too little space for the necessary insertion of inventions, which would appear to be lies.

Olive was sometimes frightened by the relentlessly busy inventiveness of her brain. It was good and consoling that it earned money, real bankable cheques in real envelopes. That anchored it in the real world. And the real world spouted stories wherever she looked at it.

(mostra tutte le voci 6)

Ultime parole

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(Click per vedere. Attenzione: può contenere anticipazioni.)

Nota di disambiguazione

Redattore editoriale

Elogi

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(mostra tutte le voci 7)

Lingua originale

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English

DDC/MDS Canonico

LCC canonico

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Wikipedia in inglese (2)

File:TheChildrensBook.jpg

The Children's Book

▾Descrizioni del libro

When Olive Wellwood's oldest son discovers a runaway named Philip sketching in the basement of the new Victoria and Albert Museum--a talented working-class boy who could be a character out of one of Olive's magical tales--she takes him into the storybook world of her family and friends--a world that conceals more treachery and darkness than Philip has ever imagined and that will soon be eclipsed by far greater forces.

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