کتاب روزنکرانتز و گیلدنسترن مرده اند

اثر تام استاپارد از انتشارات نیلوفر - مترجم: مصطفی اسلامیه-بهترین نمایشنامه ها

منتقدین تا کنون مطالب بسیاری در ستایش این رمان نوشته‌اند، برخی آن را شاهکار خانم آتوود و یکی از مهمترین رمانهای پایان قرن بیستم دانسته‌اند. این اثر در سال 1996 منتشر شد. نشریه تایم آن را رمانی مرموز و افسون کننده توصیف کرد، واشنگتن پست نوشت نثر به کار رفته در آن الماس‌گون و کل اثر دارای زمینه‌ای روان‌شناسانه و مسحورکننده است، و درواقع کاوش ارزنده است در زوایای احساس و طبیعت زن، آن‌سان که می‌تواند بافلوبر هم‌سنگ باشد.


خرید کتاب روزنکرانتز و گیلدنسترن مرده اند
جستجوی کتاب روزنکرانتز و گیلدنسترن مرده اند در گودریدز

معرفی کتاب روزنکرانتز و گیلدنسترن مرده اند از نگاه کاربران
Jane Eyre meets Runa.

Eine mysteriöse historische Figur namens grace Marks wird hier in einer fiktiven Geschichte aufgearbeitet unter Berücksichtigung der widersprüchlichen Umstände zu ihrer Beteiligung an einem Doppelmord ihrer Arbeitgeber.

Die einzigen Kritikpunkte die ich habe sind, das es etwas zu lang war, da in der Mitte etwas zügiger hätte erzählt werden können und Schlussfolgerungen aus ihren Erzählungen und so, wie sie sich Dinge erklärt, zu einfach strukturiert sind für ihre würdevolle, intelligente und ungebrochene Art.
Auch nach Beendigung des Buches bin ich nicht schlauer, aber es hat mir gefallen❤️

مشاهده لینک اصلی
Leave it to Margaret Atwood to turn a real-crime novel into a conversation about gender and class! I have to say, I never really know what I am getting into with an Atwood novel: she always goes somewhere unexpected, thought-provoking and cleverly multi-layered.

Grace Marks was accused - along with stable-hand James McDermott - of murdering her employer and his house-keeper, but her death sentence was commuted to a lifetime imprisonment. Every official version of her story seem to contradict each other and while some people are convinced of her guilt, a rather large group of people insist that she is innocent and wrongly incarcerated. Enter young and rather pompous Dr. Simon Jordan, who is trying to establish an early form of psychology as an accepted science and not charlatanism: since Graces sanity has been in question since she was arrested while trying to run away with her accomplice, Dr. Jordan wants to try his methods on her to find out whether or not she is sane, and consequently find out whether or not she is guilty of murder.

The story is build around these interviews between Grace and the doctor, but also around the historical documentation about Grace Marks: her guilt was never firmly established and her true story remains very mysterious, giving Atwood a great opportunity to speculate on what might have happened.

Atwoods characters are always complicated creations. Grace is a strange blend of innocent and proper, while also being too well-aware of the grittier realities of life. But like a true lady, she works hard to keep on the right side of the line of propriety, even after being incarcerated and committed to a lunatics asylum. Is she a very talented actress, simple-minded or an intelligent woman living in a day and age where being clever is a dangerous quality?

Simon Jordan is unbearably snobby and immature: he is one of those learned-men who thinks he is the only one who understands how the world works and who knows better than everybody else. Ironically, while he claims to understand a great deal about the human mind, he doesnt know himself or understand why he does what he does half the time. I greatly enjoyed laughing at him, even if he was often more perceptive of the hypocrisies and double-standards Grace and other women had to deal with.

Which leads me to what I found the most fascinating about this novel. It wont surprise anyone to know that women got the short end of the stick in the 1840s, but Atwood takes a subtle path to discuss the inequality issues: Grace is aware that the deck has been stacked against her all her life because she is poor (and a girl), and she is determined to make the best of it, but through her eyes, we see what happens to other women who dare to @misbehave@. Mary Whitneys death as a direct result of her so-called transgression (even if without a mans intervention and manipulation, she would have lived), the ridiculous landladys desires, which can only be expressed if she plays the role of the victim, the shunning endured by Nancy for her lifestyle. Simons views are progressive for the time. For example, he is aware that it is material need that drives poor women to prostitution, and not a taste for vice. In fact, repressed sexuality is all over this book, which doesnt come as a surprise given the setting, but it is used quite skillfully to demonstrate the various hypocrisies and loopholes of the moral code that people are supposed to adhere to in a puritan society where the realities of having a human body are @distasteful@.

What bothered me about @Alias Grace@ is that Atwoods attempt to inject a little touch of the supernatural in the story felt strained. Grace is remarkable as a narrator, because she is utterly unreliable and mercurial, and there can be many reasons as to why she would lie or pretend to have forgotten some events. Theres no one left alive who can corroborate or disclaim anything she says, and women knew that it was better to pretend to be insane and at the very least have a safe enough place to sleep than to be completely sane and destitute. Is she playing a game with the doctor, the matrons and the guards, is she genuinely nuts? Up until the last page, its impossible to tell. But the hint that something paranormal is going on felt excessive: theres enough weirdness going on with Grace without adding this cherry on the sundae. Did Jeremiah coach her into her little @performance@ or was it genuine? Honestly, who cares?! It just feels unnecessary.

A solid 4 stars. I look forward to the CBC series that will air in the fall!

مشاهده لینک اصلی
Una historia que trata sobre la culpabilidad, la memoria (¿puede alguien sentirse culpable por lo que no recuerda?), las diferencias sociales, el sistema penitenciario (por llamarlo de alguna manera), los conocimientos sobre enfermedades mentales y la posición de la mujer en el siglo XIX.

Es como si Margaret Atwood hubiera partido de @El cuento de la criada@ (la narración subjetiva de una mujer prisionera sin posibilidad de salir) y hubiera profundizado para contarnos los pormenores de una sociedad, la Canadá de mitades/finales del siglo XIX. Es un buen libro histórico, donde se nota el uso y la diversidad de fuentes. Pero sobre todo es una gran novela introspectiva.

No quiere tanto aclarar si Grace es culpable o no (no es un libro reivindicativo, como sí lo es un poco @Ritos funerales@), sino que pretende jugar con las posibilidades. Todo el mundo es culpable de algo. Eso no quiere decir que se deba castigar por ley. Todo el mundo, en un momento determinado, puede cometer un delito, eso no quiere decir que sea una mala persona incapaz de redimirse. Lo que a Atwood le interesa analizar es la fina, finísima línea, que existe entre el pensamiento y la acción, entre tener un comportamiento inadecuado y cometer un delito, entre cómo se juzga a una persona u otra según su posición social y/o sexo.

Me ha gustado más que @El cuento de la criada@ porque creo que en @Alias Grace@ se profundiza más en los personajes (al menos en la protagonista) y la historia está más compenetrada con el tema que pretende abordar.

Para mí ha sido una lectura interesante y absorbente.

مشاهده لینک اصلی
It really happened. In 1843, in a remote Canadian farmhouse, James McDermott killed his employer, Thomas Kinnear, and Kinnears housekeeper and mistress, Nancy Montgomery. The two open questions were: 1) was the 15 year-old servant Gracie Marks the paramour of McDermott; and 2) was Grace involved in the murder?

Oh, people wanted to believe the worst. McDermott and Marks were found in flight across the border in the States. There wasnt much of a trial. McDermott was easily convicted and would hang. Marks was convicted as an accessory, both before and after the crimes. Her death sentence was commuted. She spent most of her life in prison, a lunatic asylum, but eventually a kind of 19th Century work release program as a servant to the governor.

It is in this last venue that Margaret Atwood re-imagines it all by having a doctor of some nascent psychiatry conduct a series of interviews with Grace. We see Atwood here at her most brilliant, channeling the voice of Grace Marks, and thereby telling the story, but also placing it in time and place. But we also see the Atwood who can be clunky with plot construct and attendant characters. A cynic might think some of it was done just to pad the book. And of course all of the men - all of them - are worthless biological scum.

So what of the the two open questions? Well, Atwood fuzzies them, perhaps for artistic reasons, perhaps because she herself is not sure. I noted that Grace, in the re-telling, begins to call McDermott James around the time of the killings. Maybe that was a subliminal message coming through. And, of course, Grace was involved in the murders. The question is to what extent. You, like me, will have to read the book for that.

As Grace tells her story, she quilts. In the reminiscence, she tells this:

The pattern of this quilt is called the Tree of Paradise, and whoever named that pattern said better than she knew, as the Bible does not say Trees. It says there were two different trees, the Tree of Life and the Tree of Knowledge; but I believe there was only one, and that the Fruit of Life and the Fruit of Good and Evil were the same. And if you ate of it you would die, but if you didnt eat of it you would die also; although if you did eat of it, you would be less bone-ignorant by the time you got around to your death.

مشاهده لینک اصلی
Alias Grace, Margaret Atwoods ninth novel is a work of historical fiction, although based on a true historical event - the story of Grace Marks, a Canadian housemaid who was convicted of murdering her employer Thomas Kinnear, and suspected of murdering his housekeeper, Nancy Montgomery on July 23, 1840. The murder has been extensively reported in Canadian, American and British newspapers. It has sparked quite a controversy: Nancy was Kinnears mistress who has before given birth to an illegitimate child, and at the autopsy she was found to be pregnant again. Grace has immigrated to Canada from Ireland in 1840 when she was 12; her mother has died on the ship carrying the Marks family and was buried at sea, leaving Grace and her younger siblings in care of her father, an abusive alcoholic. She was sentenced for the murders together with James McDermott, one of her fellow servants, as they were caught together during an attempted escape from Canada into the United States; McDermott has been put to death by hanging while Grace has been first sentenced into a confinement in an insane asylum, but later moved to Kingston penitentiary in Ontario, a maximum security prison. She spent almost three decades there before being pardoned; the last information available is that Grace has moved to live in New York. No one knows what became of Grace Marks after that.

In the afterwood Atwood points out that while both McDermott and Marks have been condemnded to death for the Kinnear murder, opinions on Grace have been divided from the start; thanks to the efforts of her lawyer and a couple of petitioners her fate has been changed to life imprisonment, from which she has eventually been pardoned. Much ambiguity concerned her case, and opinions on her have been polarized:

Attitudes towards her reflected contemporary ambiguity about the nature of women: was Grace a female fiend and temptress, the instigator of the crime and the real murderer of Nancy Montgomery, or was she an unwilling victim, forced to keep silent by McDermott’s threats and by fear for her own life? It was no help that she herself gave three different versions of the Montgomery murder, while James McDermott gave two.

The novel is an attempt to explore the ambiguity concerning that murder and the character of Grace Marks, and a very complex and captivating one at that. The novel is told from two perspectives: as a first hand account by Grace, chronicling her life in the penitentiary and remembrances of her past, from her familys arrival in Canada, the struggles and hardships, employment at the Kinnear house and metting with James McDermott.
The second narration is in the thirs person, from the perspective of Simon Jordan, a young and ambitious American practictioner of the growing field of psychiatry. As Grace claims to have no memory of the actual murders, he is to reconstruct her case. Slowly he tries to bring Grace closer and closer to the actual event, trying to unlock the mental chest holding the recording of that fateful day.

The novel is quite interesting in its structure. Each section begins with an image of a quilt pattern, with additional poetry, citations from newspapers and historical documents, quotations from witnesses, confessions, etc. Graces monologues are interchanged with Dr. Jordans correspondence with his friends and family. Even its generally classified as historical fiction, it has all captivating power of a fine detective thriller, a classic whodunnit, or as in this case shedunnit. Even though the verdict is in and the suspect is in prison, the jury is still much out, and as the pages turn the reader becomes more and more captured by the interplay of Graces account, which shows her naivete and lack of education, yet reveals an intelligence and cleverness, and Simons correspondence, research and tries to find the answer to the question which begins to haunt him: who is Grace Marks?

Margaret Atwood is without a doubt one of the finest prose stylist, and her unique skill of weaving multiple layers of the story, combined with a vast research of the period shes writing about and relaying them in a rich and lyrical language true to time, place and character is incredible. She is also a poet, and while I have never read her poetry I think that I am not that far away by saying that she is a poet who choses to work with prose from time to time. Simple, everyday things are relayed in a way that immediately captures attention and demands a second look. Consider the opening paragraph:

Out of the gravel there are peonies growing. They come up through the loose grey pebbles, their buds testing the air like snails’ eyes, then swelling and opening, huge dark-red flowers all shining and glossy like satin. Then they burst and fall to the ground.

Or the opening of chapter 27:

Today when I woke up there was a beautiful pink sunrise, with the mist lying over the fields like a white soft cloud of muslin, and the sun shining through the layers of it all blurred and rosy like a peach gently on fire.

There is a special quality which few writers posess; the ability to construct a scene, using language which is concise yet elegant, beautiful even, and create an image which stays in the mind, like a burning peach. The novel is worth reading because of the sheer excellence of the language, but together with a skilfully unfolded and unpredictable plot and a rich tapestry of themes it becomes a work which is versatile and more than well worth the invested time.

Alias Grace is a beautiful and haunting novel of murder, madness and methodology; it is a fine contribution to the canon of Canadian literature from one of the nations best known and revered authors. A period piece rich in details of life in the Victorian Canada West, about the importance of class and status, the role of women in the society, the period of history where they were still treated as the feebler sex combined a psychological mystery with all the elements of a great thriller, with excellent characterization and brilliant yet unpretentious language. Even with all its darkness and seriousness of the mystery and situations, Atwood manages to employ humor in the narrative, in a way that is fitting and funny in a good way. Its a spellbinding book that anyone can pick up and become lost in the rich world that it paints, trying to figure out the mystery together with the people that populate it. A great example of combining all the mentioned elements with the the art of exquisite storytelling, Alias Grace is guaranteed to make you think long after the last page has been turned.

مشاهده لینک اصلی
کتاب های مرتبط با - کتاب روزنکرانتز و گیلدنسترن مرده اند


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