#Nathan Zuckerman

[yudrein-aile]

honestly early chapters Nathan deserves more credit considering how much bullshit he has to put up with from Kishiar’s side

being told the just off age commoner is hot

the weird commoner has to be a spy because he’s entirely too good at everything

Kishiar not leaving the suspicious guy alone

Fucking assassination attempt he wasn’t there for and the incredibly fucking weird powerful commoner dealt with on his own

Looking after the cavalry while Kishiar is doing hot girl shot

Kishiar using the powers to fix the commoner’s weird funky wound

Like I’m only praying he never learns about the whole ‘propositioning Yuder to see how he reacts’ thing bc while I think Nathan is too professional to slap Kishiar, I think he would oversteep his tea

[lovefrombegonia]

Yuder: I hate touching humans.

Yuder: Last time I touched someone was in a fistfight.

Kanna: ...commander is literally sitting on your lap...

Kishiar: *smiles radiantly*

Yuder: He is not human, he is an avatar of sun god.

Nathan: *nods*

Kanna: I-- *walks away because it does sound right*

[helyft]

Kishiar being Kishiar (novel spoilers!!!)

HOW CAN A MAN LIKE THIS EXIST?!?! AAAHHHHH. (Read turning if you haven't yet, join the discord server if you haven't yet^-^)

[kishiar-la-orr]

“No. Workplace. Romance. In. The. Cavalry,” Nathan accentuated each word with a swing of his sword. 

Gasp

Drunk Kishiar was offended by his aide’s words. 

“It was a consensual workplace romance,” he spat out.

(let's make babies!, harry__riddle)

[anrisimps]

After one too many personal training sessions

[dinadumas]

You can see from Nathan's face that he is thinking about either vacation or dismissal lmao

[demisexualnathanvuornos]

Lucas Bryant +being killed by writers Lilla & Nora Zuckerman

Haven 2x6 Audrey Parker's Day Off (2011) Directed by Fred Gerber

Marvel's Agents of SHIELD 6x4 Code Yellow (2019) Directed by Mark Kolpack

[power-chords]

The ever-talking double of the Rothian pantheon is a Jew. Jewish talkiness may be an artifact of theology (arguing with God), an effect of history (wheedling with Cossacks), a residue of Talmudic practice, or the product of psychoanalysis (“say everything”). Whatever the source, there is “inside each Jew,” as one character puts it in Operation Shylock, “so many speakers! Shut up one and the other talks.”

The irrepressible talker is mobilized by Roth against any notion of Jewish wholeness or authenticity, of being oneself, at home in the world. The authentic Jew is the fantasy of the Zionist and the anti-Semite alike. Both get a platform in the “Judea” and “Christendom” chapters of The Counterlife, in which they reduce the Jew to a singular, univocal self. Purged of ambiguity and uncertainty, that Jew has only one destiny: to vacate his diasporic premises and go back to where he belongs, the land of his ancestors, where he will stop talking so much, or at least in so many voices.

Roth’s defense of the double against Jewish reductionism and Zionist certainty is also, in a way, the upshot of Arendt’s strictures about the doubling of the self. The fact that “I am inevitably two-in-one,” she writes, “is the reason why the fashionable search for identity is futile and our modern identity crisis could be resolved only by losing consciousness.” The search for a grounding identity—Jewish or otherwise—necessarily finds its terminus in the stasis of a unified self, unable to carry on a conversation even with itself. Down such a path, she suggests, lies death. [...]

Roth and Arendt turn the double into a figure of satire and irony, using its destabilizing comedy to deprive that house of its foundations. Roth’s most fanciful double is Anne Frank. In The Ghost Writer, the young Nathan Zuckerman, like the young Roth, has written a story that earns him the accusation of being a self-hating Jew. His accusers include his parents and Judge Wapter, a family friend and respected leader of Newark’s Jewish community. Desperate for exoneration, Nathan makes a pilgrimage to the home of an esteemed and elderly Jewish writer (modeled on Bernard Malamud) who lives in the Berkshires with his wife. There, Nathan meets the writer’s assistant, Amy Bellette. As the evening goes on, the form of Nathan’s redemption takes shape: Amy is really Anne Frank, and Nathan will marry her. What better guarantor of his Jewish credentials? He imagines returning to New Jersey and the conversation with his parents that will ensue:

“I met a marvelous young woman while I was up in New England. I love her and she loves me. We are going to be married.” “Married? But so fast? Nathan, is she Jewish?” “Yes, she is.” “But who is she?” “Anne Frank.”

According to Bailey, Roth originally wrote the Bellette character as if she were, in fact, Anne Frank. But that simple application of the reality principle prevented him from finishing the book. It was only when he realized that Bellette had to be a fantasy Anne Frank—a fictitious double, conjured from Nathan’s head—that Roth was able to find the comedy in, the meaning of, the story: how an agonistic writer could turn himself into a nice Jewish boy by marrying the nicest Jewish girl that ever lived, how the most sacred figure of the Holocaust—and the Holocaust itself—could be used to resolve the most profane family romance.

Corey Robin, "Arendt and Roth: An Uncanny Convergence"

[pagebypagereviews]

In the labyrinth of contemporary literature, where the search for originality often leads to the obscure and the overwrought, Philip Roth's "The Ghost Writer" emerges as a beacon of clarity and introspection. This novel, first published in 1979, isn’t merely another chapter in the annals of coming-of-age tales; it is a poignant examination of the literary vocation itself, an erudite dance around the themes of identity, artistic ambition, and the consuming nature of the creative calling. Through the eyes of Nathan Zuckerman, Roth's alter ego and a recurring character in his work, we are thrust into the turbulent waters of a young writer’s consciousness, navigating the currents of admiration, fantasy, and the inexorable pull of the past. "The Ghost Writer" solves a problem that plagues many readers of High Literature—the frequent disconnect between grand themes and personal relevance. Roth captures the universal in the particular, as he intertwises the enigma of Anne Frank's fate with Zuckerman's burgeoning identity, crafting a story that is as much a tribute to the writers who came before as it is a narrative about the paths we choose. It dissects the Jewish-American experience without alienating the unfamiliar, reaching out into broader discussions about the ethical responsibilities of storytelling and the haunting power of literature to rewrite history. Through this narrative, Roth offers a masterclass on the demands of literary greatness and the price one pays for dedicating their life to the written word, making "The Ghost Writer" a touchstone for both readers and writers alike. Plot The plot of "The Ghost Writer" intricately weaves elements of suspense, mystery, and psychological depth. The story follows Nathan Zuckerman, a young and ambitious writer who idolizes the reclusive novelist E.I. Lonoff. After a pilgrimage to Lonoff's rural Massachusetts home, Nathan becomes privy to the intricacies of the author's seemingly sedate life, uncovering unexpected emotional dynamism and clandestine relationships. The narrative structure cleverly oscillates between the present interactions among the characters and Nathan’s retrospective musings, which are often compounded with his literary aspirations. A particular subplot of intrigue is the arrival of Amy Bellette, a beguiling former student of Lonoff's whose mysterious past becomes a focal point for Nathan’s speculative imaginings. Themes of literary legacy, identity, and the blurred lines between artistic creation and lived reality are explored, making the plot both a contemplation on the nature of writing and the complex personal histories that shape an individual. Characters The characters in "The Ghost Writer" are crafted with meticulous detail and psychological complexity. Nathan Zuckerman, the novel's protagonist, is portrayed as a gifted young writer grappling with his literary ambitions and the formidable shadow of his heroes. E.I. Lonoff, the object of Nathan’s literary adoration, is depicted as a paragon of artistic integrity whose personal life defies the stark simplicity of his writing ethic. The ethereal and enigmatic Amy Bellette serves as a pivotal character, inspiring Nathan's infatuation and acting as a catalyst for the exploration of post-war identity and survivorship. Hope Lonoff, E.I.'s wife, is sketched with the shades of both a nurturing spouse and a woman burdened by her husband's fastidious devotion to his craft. Each character is presented with such nuance that their dialogue and interactions resonate with subtext, revealing the multifaceted nature of their relationships, conflicts, and personal aspirations. Writing Style Philip Roth's writing style in "The Ghost Writer" is characterized by its elegantly crafted prose, its incisive wit, and its rich intertextuality. Roth harnesses a narrative voice that combines the intellectual vigor of his protagonist with a descriptive prowess that brings the settings and characters to life. Dialogues are sharp and heavily

laden with subtext, effectively capturing the nuances of conflict, admiration, and revelation that drive the narrative forward. Through Nathan’s reflections, Roth employs an introspective and metafictional approach, delving into the psyche of a writer and the complexities of authorship. He merges the realistic with the imaginative, bending the reader's perception of fiction and reality with deft shifts from the chronological to the speculative. His eloquent use of language resonates with thematic underpinnings, such as the weight of Jewish identity and the search for artistic truth. Setting The setting of "The Ghost Writer" is largely confined to E.I. Lonoff's secluded home in the Berkshire Mountains of Massachusetts, during the heart of winter. This isolated backdrop is instrumental to the novel as it underpins the characters' introspection and the intimate, pressure-cooked atmosphere in which the story unfolds. The wintery landscape mirrors the intellectual chill and emotional restraint that characterize Lonoff's ascetic lifestyle and his relationships. Roth deftly uses this confined setting to heighten the sense of psychological tension and to accentuate the contrast between the wilderness outside and the cerebral haven within. Additionally, the period detail—set in the 1950s—adds to the authenticity of the narrative, grounding the characters in a specific historical context that informs their cultural and personal struggles. Unique Aspects One of the most unique aspects of "The Ghost Writer" is its exploration of the duality between an author's public persona and private existence. The enigma surrounding the character of Amy Bellette, who may or may not be Anne Frank having survived the Holocaust, serves as a profound commentary on the nature of literary iconography and the fictions we create around historical figures. Furthermore, the novel stands out for its metafictional layering, where Roth presents a story within a story through Nathan’s own writing, effectively questioning the line between art and autobiography. The juxtaposition of Jewish-American experiences post-World War II with the personal narratives of the characters adds a rich layer of socio-cultural analysis that is nuanced and thought-provoking. Additionally, Roth's ability to suffuse the narrative with humor, despite deeply serious undercurrents, showcases his mastery in balancing tonal complexities within his work. Similar to The Ghost Writer ```html table width: 100%; border-collapse: collapse; table, th, td border: 1px solid black; th, td padding: 10px; text-align: left; .pros background-color: #e1f0c4; .cons background: #f7c8c9; Pros of The Ghost Writer Cons of The Ghost Writer Compelling Narrative: - Engages viewers with a strong, well-paced plot. - Twists keep the audience guessing and intrigued. Demanding Attention to Detail: - Requires viewer's full attention due to complex storyline. - Minor distractions may lead to missed essential plot points. A-List Cast: - Stellar performances from renowned actors. - Characters are well-developed and memorable. Slow Burn: - Some may find the pace too slow, especially in the beginning. - Risk of losing interest for viewers who prefer fast-paced action. Atmospheric Setting: - The mood and tone are expertly conveyed through the setting. - Cinematography enhances the suspense and drama. Unresolved Elements: - Some story elements may not be fully concluded. - May leave some viewers wanting more closure. Expert Direction: - Director Roman Polanski's expertise is evident throughout. - Pacing, framing, and scene composition are meticulously crafted. Polarizing Themes: - Touches on controversial and dark political themes.

- May not appeal to viewers sensitive to such topics. Soundtrack and Score: - Music effectively builds tension and enhances scenes. - The score complements the film's overall tone. Expected Conventions: - Sticks to some conventional thriller tropes. - Predictability in certain plot turns might disappoint some viewers. ``` This HTML table is designed to present the pros and cons of "The Ghost Writer" side by side for a clear and organized comparison. This way, it illustrates how each factor could impact a viewer's experience with the film. The styling within the ` ` tag ensures that the table and its sections stand out. The pros are highlighted with a lighter background, while the cons have a slightly different colored background to differentiate between them effectively. Each pro and con is listed in its respective column with details on how it might affect the user experience. Evaluating the Author's Credentials When you're considering adding "The Ghost Writer" to your collection, examining the author's credentials is crucial. You'll want to explore the author's previous works, awards, and recognition in the field. Familiarize yourself with their style and thematic preferences to ensure that their storytelling resonates with you. Given that the author's expertise and experience can greatly influence the narrative's depth and authenticity, taking the time to research the author's background could enhance your reading experience. Analyzing the Genre and Themes "The Ghost Writer" falls into a specific genre that comes with its expectations. Assess whether the book's genre—be it thriller, mystery, or drama—aligns with your tastes. Consider the themes the book explores, such as identity, secrets, or political intrigue, to determine how it might engage with your personal interests. Themes play a significant role in crafting the story's experience; thus, ensuring that they strike a chord with you will contribute to a more immersive reading journey. Understanding the Book's Narrative Style The narrative style of a book can greatly impact your reading enjoyment. Some readers prefer a fast-paced, plot-driven story, while others might cherish a character-driven narrative with a slower pace. Look into whether "The Ghost Writer" employs a first-person narrative that offers intimate insight into the protagonist's thoughts or a third-person viewpoint that might provide a broader perspective on the story. Deciding which narrative style you prefer will help guide you toward a more fulfilling read. Considering Critical Reviews and Ratings Seek out critical reviews and ratings from reputable sources and literary critics. Such evaluations can provide a more nuanced understanding of the book's strengths and weaknesses. High ratings and positive critiques are often indicative of a book’s quality, but remember to read through multiple reviews to get a balanced view. Keep in mind the possibility of subjective opinions and focus on what aspects of the book are consistently praised or criticized. Looking at Reader Feedback and Recommendations In addition to professional reviews, consider feedback from everyday readers who have similar tastes to yours. Online platforms like Goodreads, Amazon, and book clubs are excellent resources for gathering opinions from a diverse audience. Pay attention to repeated comments regarding specific aspects of the book, such as character development, plot complexity, or writing style, to gauge reader satisfaction. However, take care to avoid spoilers that could mar your reading experience. Examining the Book's Publication Quality The physical quality of the book can also affect your enjoyment. If you are purchasing a hardcover or paperback, inspect the binding, paper quality, and typeface. A well-produced book can endure multiple reads and will be a worthy addition to your shelves. For e-books and audiobooks, ensure compatibility with your

reading devices and listen to a sample for the latter to ensure the narrator's voice is to your liking. Considering Price and Availability Finally, consider the price and availability of "The Ghost Writer." Compare prices across different retailers, look for discounts or bundle deals, and don't forget to check your local library or second-hand bookstores for a more affordable option. Availability may vary depending on your location, so it may be beneficial to explore online options that provide wider access to a range of editions or formats. ```html FAQ for The Ghost Writer What is The Ghost Writer about? The Ghost Writer is a novel (or film, depending on context) involving a professional writer who is hired to write the memoirs of a public figure. The writer becomes embroiled in political intrigue and secrets as he delves into the subject's life. Who wrote The Ghost Writer? If referring to the novel, The Ghost Writer was written by Philip Roth. If referring to the film, the screenplay was written by Robert Harris and Roman Polanski, based on Harris's novel of the same name. Is The Ghost Writer based on a true story? No, The Ghost Writer is a work of fiction. However, it may draw on real-life political contexts and dynamics to shape its story, as it deals with political figures and themes of power. Who are the main characters in The Ghost Writer? The main characters typically include the ghostwriter himself, often unnamed, and the public figure for whom he is writing the memoir. Other characters would depend on the specific twists and turns of the plot in the book or film. Has The Ghost Writer won any awards? The film adaptation of The Ghost Writer, directed by Roman Polanski, has won several awards, including the Best Director award for Polanski at the 60th Berlin International Film Festival. The novel itself has been highly praised and is regarded as one of Roth's best works. Can I watch The Ghost Writer movie online? Availability can vary depending on your location and the current distribution rights. It is advisable to check online streaming platforms or digital rental services to see if The Ghost Writer is available for streaming or purchase. Is The Ghost Writer suitable for children? The Ghost Writer novel and film are generally not recommended for children due to mature themes, scenes of a political nature, and potentially suspenseful or intense situations. They are more suitable for an adult audience. How does The Ghost Writer end? The conclusion of The Ghost Writer involves significant plot twists that provide a resolution to the political mystery at the heart of the story. To avoid spoilers, it is best to read the book or watch the movie to fully experience the ending. What genre is The Ghost Writer? The Ghost Writer is considered a political thriller, with elements of mystery and drama. It explores themes of power, secrecy, and the complexities of ghostwriting someone else's biography. ``` In the intricate dance of words and suspense that defines Robert Harris's "The Ghost Writer," readers are swept into a world where the past is perilous, and secrets hold the power to change lives. As we conclude our review, it bears repeating that this novel stands out as an exceptional choice for those who seek not just a story, but an experience. With Harris's deft storytelling, each page offers a window into the shadowy world of politics and the labyrinthine paths of human motives. "The Ghost Writer" is more than just a compelling narrative; it's a masterclass in building tension and creating atmospheres that cling to you long after the book is closed. The insights readers gain into the intricate process of ghostwriting provide a backdrop for the multilayered plot, weaving together reality and fiction until the two are indistinguishable. Choosing this book promises not just an escape into a gripping tale but an exploration of themes that resonate deeply with our contemporary moment: the blurred lines between truth and fabrication, the weight of secrets, and the often unseen influence of the powerful.

It's a valuable literary journey for anyone interested in the convergence of politics, ethics, and the art of writing itself. In conclusion, if you're seeking a read that is as intellectually stimulating as it is suspenseful, "The Ghost Writer" by Robert Harris should be at the top of your list. Embark on this chilling adventure, and let the book's insights and benefits carry you through a fascinating exploration of the human psyche and the hidden corridors of power. Whether you're a lover of thrillers, an aficionado of political dramas, or a devotee of well-crafted prose, this book delivers on all fronts and is a story that should not be missed. Other The Ghost Writer buying options

[ulkaralakbarova]

A reporter becomes the target of a vicious smear campaign that drives him to the point of suicide after he exposes the CIA’s role in arming Contra rebels in Nicaragua and importing cocaine into California. Based on the true story of journalist Gary Webb. Credits: TheMovieDb. Film Cast: Gary Webb: Jeremy Renner Anna Simons: Mary Elizabeth Winstead Fred Weil: Michael Sheen John Cullen: Ray Liotta Ronny Quail: Robert Patrick Norwin Meneses: Andy García Coral Baca: Paz Vega Ricky Ross: Michael Kenneth Williams Sue Webb: Rosemarie DeWitt Alan Fenster: Tim Blake Nelson Russell Dodson: Barry Pepper Jerry Ceppos: Oliver Platt Richard Zuckerman: Richard Schiff Quail’s Girlfriend: Jena Sims Rich Kline: Joshua Close Danilo Blandon: Yul Vazquez Ian Webb: Lucas Hedges Eric Webb: Matt Lintz DEA Agent Miller: Gil Bellows Anonymous Agent: Steve Coulter Leo Wolinsky: Dan Futterman Los Angeles Times Editor: Susan Walters Washington Post Editor: David de Vries Doug Farah: David Lee Garver Female Anchor: Rhoda Griffis Ricky Ross Trial Judge: Jen Harper DEA Agent (uncredited): David Alessi Reporter Washington Post (uncredited): Grace Baine DC Business Woman (uncredited): Shaira Barton Self (archive footage) (uncredited): Nancy Reagan Christine Webb: Parker Douglas Film Crew: Producer: Scott Stuber Director: Michael Cuesta Executive Producer: Peter Landesman Producer: Jeremy Renner Producer: Naomi Despres Executive In Charge Of Production: Louis Phillips Cinematography: Sean Bobbitt Novel: Gary Webb Original Music Composer: Nathan Johnson Executive Producer: Pamela Abdy Executive Producer: Michael Bederman Executive Producer: Don Handfield Editor: Brian A. Kates Production Design: John Paino Casting: Avy Kaufman Costume Design: Kimberly Adams Costume Design: Doug Hall Movie Reviews:

[yudrein-aile]

"This loyal knight had helped clean up the mess following the manifestation of his second gender, and there had even been a one-on-one duel between them when he had defied Kishiar.

'A significant incident where both of us ended up wounded, and I discovered that Nathan Zuckerman was a hidden Swordmaster.'

-- screaming. I need more details on the duel but also the fact Nathan had to clean up the whole heat fiasco is so juicy just in terms of like, character dynamics and perspectives n such

oh you're going to love some of the Nathan and Yuder interactions to come (they get a whole mission to themselves that's just. a riot imo).

But yeah, I really love how thisd also shows their different concerns?

Like, I'm sorry but first timeline Nathan had to deal with the aftermath of Yuder's second gender manifestation, Kishiar dying, Kishiar making his situationship his successor, the fact that there was a situationship at all - and teaching this 20-21 year old kid how to act like a noble in a year. Bestie was beyond overworked.

And now here in the second timeline, he spends most of the first half telling kishiar to not fuck the spy to be more careful around a highly suspicious individual - and Nathan is right btw!!! Yuder is sus af.

But watching him, he actually comes to like him. they bond over mutual worry for what the fuck kishiar is doing to himself.

[lovefrombegonia]

Nathan, about Kishiar and Yuder:

[frabooks]

Pastorale americana

Pastorale americana è un romanzo di Philip Roth scritto nel 1997 e che gli fece vincere il Pulitzer nell’anno successivo.

E’ il primo della trilogia di Zuckerman, protagonista dei romanzi e alter ego di Roth; poi arriveranno “Ho sposato un comunista” e “La macchia umana”.

Struttura del romanzo

E’ strutturato in 3 parti, ogni parte ha 3 capitoli. Le tre parti sono: “paradiso ricordato”, “la caduta”, “paradiso perduto”. Ha circa 450 pagine. Le tre parti evidenziano i tre atti del romanzo.

Personaggi

Nathan Zuckerman. Voce narrante, è l’alter ego di Roth. E’ un uomo in là con gli anni, scrittore, si è appena operato alla prostata e ha ricordi brillanti dello svedese alla high school.

Seymour Levov “lo svedese”. Protagonista del romanzo. Fin da ragazzo è stato “perfetto”; fisicamente era alto, biondo, robusto, bellissimo; riusciva in tutti gli sport senza particolare fatica; era gentile, educato, in gamba, altruista, era ammirato da tutta la scuola; poi diventa un imprenditore di successo, sposato con la Miss New Jersey.

Dawn Levov. Miss New Jersey (aspetto cruciale) e moglie dello svedese.

Meredith “Merry” Levov. Figlia dello svedese. Intelligente, vispa, molto testarda. Ha un unico difetto: la balbuzie.

Jerry Levov. Fratello dello svedese. Sempre in secondo piano rispetto al fratello maggiore. Sviluppa un carattere completamente diverso, molto tagliente e diretto. Diventerà il miglior cardiochirurgo della Florida. Divorziato 4 volte.

Lou Levov. Padre dello svedese, guantaio e ossessionato dai guanti e dall’industria dei guanti. Personalità ingombrante e netta. Conservatore nei modi, ebreo fino al midollo.

Rita Cohen. Ragazza misteriosa, amica di Merry, stessa età. Aiuterà lo svedese a ritrovare Merry.

Sheila Salzaman. Logopedista di Merry. Diventerà importante.

Contesto

Il romanzo è ambientato nel New Jersey, soprattutto a Newark e nei paesini attorno, tra gli anni quaranta e gli anni settanta.

L’ambiente culturale è quello bianco ebreo della classa medio alta. Come sempre, per Roth.

Si sente fortissimo il contesto culturale di due specifici periodi: intorno agli anni della guerra, quando Zuckerman e lo svedese erano all’high school e la fine degli anni ‘60 e inizio anni ‘70, quando oltre alle rivolte culturali e sociali, ci fu la guerra del Vietnam (che scatenò proteste violentissime), la crisi del Watertgate e i disordini a Newark, città dove i Levov hanno la fabbrica.

Intanto i tempi stanno cambiando, la società statunitense sta cambiando. Sono questi sconvolgimenti, questa confusione, questa ricerca di risposte che fa crollare tutto.

Trama

Prima parte.

Zuckerman ricorda la vita perfetta e il grande successo avuto da giovane dallo svedese. Incontra il fratello dello svedese, Jerry, e altri compagni al raduno del quarantacinquesimo anno della high school.

Nel frattempo lo svedese lo contatta, che emozione!, per fargli scrivere la storia di successo di suo padre; si incontrano, quella è una scusa, ma lo svedese non si sbottona e non fa altro che raccontare la sua vita perfetta.

Poi Zuckerman scopre che lo svedese è morto ma che, soprattutto, sua figlia è responsabile di un attentato terroristico in cui è morta una persona.

Seconda parte.

La voce in terza persona non si occupa più di Zuckerman. Ripercorriamo il dramma dello svedese. Una vita perfetta da ogni punto di vista che si interrompe con la tragedia della figlia. Merry una volta compiuto l’attentato si dà alla macchia e non viene più ritrovata. I Levov vivono con questo enorme e insondabile peso. Soprattutto lo svedese si chiede come sia potuto succedere.

Incontra per la prima volta Rita Cohen, ragazza misteriosa, che gli chiede oggetti di Merry da portarle in clandestinità e soldi.

Terza parte.

Continua il racconto dello svedese negli anni di scomparsa di Merry. Ogni cosa, pagina dopo pagina, crolla.

Alcuni temi

Zuckerman o lo svedese Il protagonista è Zuckerman, tecnicamente. Il libro lo apre lui raccontando dello svedese. Ma poi, con l’andare delle pagine, scompare sullo sfondo, non si rifarà mai più vivo. L’unico e solo protagonista è lo svedese. Roth avrebbe potuto impostare il romanzo in modo completamente diverso.

I colpi di scena So che un romanzo può non vivere di trama e che la trama non sempre è rilevante; conta spesso di più lo stile. Quando ho approcciato Roth mi aspettavo un maestro di stile senza trama, alla “Stoner” o alla “Rumore bianco”. Invece la trama c’è. O meglio, non è solo questione di trama: ci sono i colpi di scena e i capovolgimenti. Roth si dimostra maestro nel prendere il lettore alla sprovvista per sorprenderlo e colpirlo inaspettatamente. Sa che il suo potere è immenso ma è bravissimo a dosarne la forza: sa che potrebbe esagerare e destare ancora più stupore ma a discapito della coerenza e della credibilità, quindi si tiene al margine perfetto.

Ritmo Ha un ritmo stranissimo, esattamente come l’unico altro romanzo (grosso) che io abbia letto di Roth, La macchia umana. Il lamento di Portnoy è simile ma di un’altra categoria, è più fresco e leggero. Una dimensione quotidiana e reale. In questa dimensione ci sono fatti come il ritrovo degli ex alunni o il racconto della giovinezza dello svedese, o ancora il loro incontro. Non ci sono riflessioni particolari ma è un racconto descrittivo, puntuale, lineare. Una seconda dimensione introspettiva. Pagine e pagine di introspezione dello svedese che si dilania di dubbi e angosce. Sono pagine più lente, viscose, che vanno avanti anche parecchio e sembrano davvero non portare a nulla. Sono pagine necessarie perché Roth rende perfettamente i moti dell’animo umani. Una terza dimensione teatrale. Teatrale nel senso che in questa dimensione ci sono i racconti dei drammi: Merry che fa esplodere il negozio, lo svedese che incontra Rita Cohen, lo svedese che ritrova Merry, o anche la cena finale. Sono sprazzi di azione e dialoghi tragici, assurdi. Il ritmo cambia ancora e si fa più serrato, pur rimanendo dentro la testa dello svedese, con tutti i suoi dubbi e angosce.

Rita Cohen Il personaggio di Rita Cohen mi ha disturbato. Mi ha ricordato i personaggi disturbati di Dostoevskji in quanto ricercatori del male e manipolatori. La sua presenza esaspera lo svedese. Ma non ho capito se è reale o no, e anche questo è un tocco di genio di Roth.

È un bel romanzo? È bellissimo. Non riesco a capire se sia meglio della macchia umana o no però io cedo completamente davanti a libri simili di Roth. Densi di introspezione, di fatti umani, di colpi di scena.

È scritto bene? Ritengo Roth il miglior scrittore che abbia mai letto insieme a Dostoevskij. Sto elaborando cosa vuol dire "bella scrittura", al momento dico solo che Roth è precisissimo, puntuale, tagliente, gestisce benissimo il ritmo e usa le parole in modo magistrale.

Frasi/Stralci P 41 “Rimane il fatto che, in ogni modo, capire bene la gente non è vivere. Vivere è capirla male, capirla male e male e poi male e,dopo un attento riesame, ancora male. Ecco come sappiamo di essere vivi: sbagliando. Forse la cosa migliore sarebbe dimenticare di avere ragione o torto sulla gente e godersi semplicemente la gita. Ma se ci riuscite…Beh, siete fortunati.”

P 69 “”Comunque, era tutto quello che avevo per non farmi sommergere dalla merda. -Merda? Che vuoi dire? -L’immagine che abbiamo l’uno dell'altro. Strati e strati d’incomprensione. L’immagine che abbiamo di noi stessi. Vana. Presuntuosa. Completamente distorta. Ma noi tiriamo diritto e viviamo di queste immagini.””

P 88 “Aveva imparato la lezione peggiore che la vita possa insegnare: che non c’è un senso.”

P 141 “Questa si chiama lustrina e quello si chiama palizzone e tu ti chiami dolcezza e io mi chiamo papino e questo si chiama vivere e l’altro si chiama morire e questa si chiama follia e questo si chiama piangere qualcuno che è morto e questo si chiama infermo, inferno pur ee semplice, e devi essergli molto legato per resistere, e questo si chiama sforzarsi-di-tirare-avanti-come-se-niente-fosse e questo si chiama pagare-il-prezzo-intero-ma-perché-in-nome-di-Dio?, questo si chiama vorrei-essere-morto-e-vorrei-trovarla-e-ucciderla-e-salvarla-da-tutto-quello-che-starà-passando-ovunque-sia-in-questo-momento, questo sfogo incontrollabile si chiama cancellare-tutto, e non funziona, sto perdendo la testa, troppo grande è la forza devastante di quella bomba…”

P 188 “E, nella vita di tutti i giorni, nient’altro da fare che continuare rispettabilmente ad avere l’enorme pretesa di essere se stesso, con tutta l0inta di essere, invece, solo la maschera di uomo ideale”

P 245 “Sì, siamo soli, profondamente soli, e in serbo per noi, sempre, c’è uno strato di solitudine ancora più profondo. […] Puoi cercare di tirar fuori tutto quello che hai dentro, ma allora non sarai altro che questo: vuoto e solo anziché pieno e solo.”

P 257 “Come potevano, i loro innocui difetti, aver contribuito a produrre questo essere umano?”

P 300 “La vita è solo un breve periodo di tempo nel quale siamo vivi. Meredith Levov, 1964”

P 304 “Nulla di tutto questo è vero. Cause, risposte chiare, a chi dare la colpa. Ragioni. Ma non ci sono ragioni. Merry è costretta a essere ciò che è. Come tutti noi. Le ragioni si trovano nei libri. […] Nessuno ne sa niente. Non è razionale. È il caos. È il caos, dall’inizio alla fine”

P 385 “Il cervello di tutti era dunque infido come il suo? E era lui l’unica incapace di vedere cosa stava macchinando la gente? Sgattaiolavano tutti qua e là come faceva lui, dentro e fuori, dentro e fuori, cambiando cento volte al giorno, ora intelligente, ora abbastanza intelligente, ora stupido come tutti gli altri, ora il più stupido bastardo che fosse mai vissuto?”

P397 “Sua figlia era una folle assassina che si nascondeva sul pavimento di una stanza di Newark, sua moglie aveva un amante che fingeva di scoparla sopra il lavandino della cucina, la sua ex amante aveva portato coscientemente la sua famiglia al disastro e lui stava cercando d’ingraziarsi suo padre spaccando il capello di quattro.”

P 410 “L’unica cosa a cui poteva aggrapparsi mentre la sua grande impresa che era stata la sua vita continuava a sfrecciare verso la distruzione: una cena. E alla terrazza illuminata dalle candele fece doverosamente ritorno, sempre portando con sé tutto ciò che non riusciva a capire”:

P 443 “Era una dote o una capacità che non possedeva. Non aveva, semplicemente, la combinazione di quella serratura. Prendeva per buono chi lanciava i segnali della bontà. Prendeva per leale chi lanciava i segnali della lealtà. Prendeva per intelligente chi lanciava i segnali dell’intelligenza. E fino a quel momento non era riuscito a vedere dentro sua figlia, non era riuscito a vedere dentro sua moglie, non era riuscito a vedere dentro la sua unica amante: forse non aveva neppure cominciato a vedere dentro di sé. Cos’era, lui, spogliato di tutti i segnali che lanciava? La gente, dappertutto, si alzava in piedi urlando: -Questa persona sono io! QUesta persona sono io! - Ogni volta che li guardavi si alzavano e ti dicevano chi erano, e la verità era che non avevano, non più di quanto l’avesse lui, la minima idea di chi o che cosa fossero. Credevano anche loro ai segnali che lanciavano. Avrebbero dovuto alzarsi e gridare: -Questa persona non sono io! Questa persona non sono io! - L’avrebbero fatto, se avessero avuto un minimo di pure. -Questa persona non sono io! - Allora forse avresti saputo come procedere tra quei segnali, tra le innumerevoli stronzate di questo mondo.

[kishiar-la-orr]

"I'm not worried," said Kishiar as if he had read his thoughts, setting the cup down. "There is no reason for my dear assistant to suddenly run away from the cavalry."

"And what if something had happened to him?"

Kishiar's smile vanished.

"Well," he said with a frown, recalling the monster that had almost claimed Yuder's life. "I'll do what I can to help him."

(a path to love, kitty_writings)

[anrisimps]

Ch 562

Yuder wondered what else Gakane could have on his mind, sensing that it was something entirely different. After a moment of hesitation, Gakane clenched his fist and spoke. "What do you think, would Sir Nathan Zuckerman be willing to teach me swordsmanship?" "Nathan Zuckerman?" "During this mission, I noticed... he's incredibly skilled with a sword! I've never seen a knight so proficient."

I GIGGLED SO LOUDLY OH GOD NATKANE BRAINROT IS REAL

[antonio-velardo]

Antonio Velardo shares: ‘The Curse’ Series Premiere Recap: The Cameras Are Rolling by Esther Zuckerman

By Esther Zuckerman Nathan Fielder is not playing himself for once but his core fascinations are still on display. Published: November 10, 2023 at 10:46AM from NYT Arts https://ift.tt/1vhPV9A via IFTTT