A Horse Walks into a Bar
A novel, Ausgezeichnet: Man Booker International Prize, 2017. Winner of the Man Booker International Prize 2017
(Sprache: Englisch)
**WINNER OF THE 2017 MAN BOOKER INTERNATIONAL PRIZE**
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**WINNER OF THE 2017 MAN BOOKER INTERNATIONAL PRIZE**The award-winning and internationally acclaimed author of the To the End of the Land now gives us a searing short novel about the life of a stand-up comic, as revealed in the course of one evening s performance. In the dance between comic and audience, with barbs flying back and forth, a deeper story begins to take shape one that will alter the lives of many of those in attendance.
In a little dive in a small Israeli city, Dov Greenstein, a comedian a bit past his prime, is doing a night of stand-up. In the audience is a district court justice, Avishai Lazar, whom Dov knew as a boy, along with a few others who remember Dov as an awkward, scrawny kid who walked on his hands to confound the neighborhood bullies. Gradually, as it teeters between hilarity and hysteria, Dov s patter becomes a kind of memoir, taking us back into the terrors of his childhood: we meet his beautiful flower of a mother, a Holocaust survivor in need of constant monitoring, and his punishing father, a striver who had little understanding of his creative son. Finally, recalling his week at a military camp for youth where Lazar witnessed what would become the central event of Dov s childhood Dov describes the indescribable while Lazar wrestles with his own part in the comedian s story of loss and survival. Continuing his investigations into how people confront life s capricious battering, and how art may blossom from it, Grossman delivers a stunning performance in this memorable one-night engagement (jokes in questionable taste included).
Lese-Probe zu „A Horse Walks into a Bar “
Good evening! good evening! Good evening to the majestic city of Ceasariyaaaaaah! The stage is empty. The thundering shout echoes from the wings. The audience slowly quiets down and grins expectantly. A short, slight, bespectacled man lurches onto the stage from a side door as if he d been kicked through it. He takes a few faltering steps, trips, brakes himself on the wood floor with both hands, then sharply juts his rear end straight up. Scattered laughter and applause from the audience. People are still filing into the club, chatting loudly. Ladies and gentlemen! announces a tight--lipped man standing at the lighting console. Put your hands together for Dovaleh G! The man onstage still crouches like a monkey, his big glasses askew on his nose. He slowly turns to face the room and scans it with a long, unblinking look.
Oh, wait a minute, he grumbles, this isn t Caesarea, is it? Sounds of laughter. He slowly straightens up and dusts his hands off. Looks like my agent fucked me again. A few audience members call out, and he stares at them in horror: Say what? Come again? You, table seven, yeah, with the new lips -they look great, by the way. The woman giggles and covers her mouth with one hand. The performer stands at the edge of the stage, swaying back and forth slightly. Get serious now, honey, did you really say Netanya? His eyes widen, almost filling the lenses of his glasses: Let me get this straight. Are you going to sit there and declare, so help you God, that I am actually for real in Netanya at this very minute, and I m not even wearing a flak jacket? He crosses his hands over his crotch in terror. The crowd roars with joy. A few people whistle. Some more couples amble in, followed by a rowdy group of young men who look like soldiers on furlough. The small club fills up. Acquaintances wave to one another. Three waitresses in short shorts and neon--purple tank tops emerge from the kitchen and scatter among
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the tables.
Listen, Lips -he smiles at the woman at table seven - we re not done yet. Let s talk about it. I mean, you look like a pretty serious young lady, I gotta say, and you certainly have an original fashion sense, if I m correctly reading the fascinating hairdo that must have been done by -let me guess: the designer who gave us the Temple Mount mosque and the nuclear reactor in Dimona? Laughter in the audience. And if I m not mistaken, I detect the faint whiff of a shitload of money emanating from your direction. Am I right or am I right? Heh? Eau de one percent? No? Not at all? I m asking because I also note a magnificent dose of Botox, not to mention an out--of--control breast reduction. If you ask me, that surgeon should have his hands cut off.
The woman crosses her arms over her body, hides her face, and lets out shrieks of delight through her fingers. As he talks, the man strides quickly from one side of the stage to the other, rubbing his hands together and scanning the crowd. He wears platform cowboy boots, and as he moves the heels make a dry tapping sound. What I m trying to understand, honey, he yells without looking at her, is how an intelligent lady like yourself doesn t realize that this is the kind of thing you have to tell someone carefully, judiciously, considerately. You don t just slam someone with You re in Netanya. Bam! What s the matter with you? You gotta give a guy some preparation, especially when he s so skinny. He lifts up his faded T--shirt and a gasp passes through the room. Ain t it so? He turns his bare chest to the people sitting on either side of the sta
Listen, Lips -he smiles at the woman at table seven - we re not done yet. Let s talk about it. I mean, you look like a pretty serious young lady, I gotta say, and you certainly have an original fashion sense, if I m correctly reading the fascinating hairdo that must have been done by -let me guess: the designer who gave us the Temple Mount mosque and the nuclear reactor in Dimona? Laughter in the audience. And if I m not mistaken, I detect the faint whiff of a shitload of money emanating from your direction. Am I right or am I right? Heh? Eau de one percent? No? Not at all? I m asking because I also note a magnificent dose of Botox, not to mention an out--of--control breast reduction. If you ask me, that surgeon should have his hands cut off.
The woman crosses her arms over her body, hides her face, and lets out shrieks of delight through her fingers. As he talks, the man strides quickly from one side of the stage to the other, rubbing his hands together and scanning the crowd. He wears platform cowboy boots, and as he moves the heels make a dry tapping sound. What I m trying to understand, honey, he yells without looking at her, is how an intelligent lady like yourself doesn t realize that this is the kind of thing you have to tell someone carefully, judiciously, considerately. You don t just slam someone with You re in Netanya. Bam! What s the matter with you? You gotta give a guy some preparation, especially when he s so skinny. He lifts up his faded T--shirt and a gasp passes through the room. Ain t it so? He turns his bare chest to the people sitting on either side of the sta
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Autoren-Porträt von David Grossman
DAVID GROSSMAN was born in Jerusalem. He is the author of numerous works of fiction, nonfiction, and children's literature. His work has appeared in The New Yorker and has been translated into more than forty languages. He is the recipient of many prizes, including the French Chevalier de l'Ordre des Arts et des Lettres, the Buxtehuder Bulle in Germany, Rome's Premio per la Pace e l'Azione Umanitaria, the Premio Ischia--international award for journalism, Israel's Emet Prize, and the Albatross Prize given by the Günter Grass Foundation.JESSICA COHEN was born in England, raised in Israel, and now lives in the United States. She has translated contemporary Israeli fiction, nonfiction and other creative works, including David Grossman's To the End of the Land.
Bibliographische Angaben
- Autor: David Grossman
- 2017, Internationale Ausgabe, 208 Seiten, Maße: 13,1 x 20,3 cm, Kartoniert (TB), Englisch
- Übersetzer: Jessica Cohen
- Verlag: KNOPF
- ISBN-10: 1524711373
- ISBN-13: 9781524711375
- Erscheinungsdatum: 20.07.2017
Sprache:
Englisch
Pressezitat
David Grossman has attempted an ambitious high-wire act of a novel, and he s pulled it off spectacularly. A Horse Walks into a Bar shines a spotlight on the effects of grief, without any hint of sentimentality. The central character is challenging and flawed, but completely compelling. We were bowled over by Grossman s willingness to take emotional as well as stylistic risks: every sentence counts, every word matters in this supreme example of the writer s craft. Judges Citation, Man Booker International Prize, 2017Astounding . . . [A] magnificently comic and sucker-punch-tragic excursion into brilliance . . . He has left a trail of blood and sweat on the page that only a true master a Lenny Bruce, a Franz Kafka could dream of replicating. Gary Shteyngart, The New York Times Book Review (front cover)
Urgent . . . Mesmerizing . . . A novel as beautiful as it is unusual . . . Grossman takes a lot of risks in A Horse Walks into a Bar, and every one of them pays off spectacularly well . . . It s nearly impossible to put down. Michael Schaub, NPR
Blistering . . . Concise . . . Grossman masterfully weaves several complex strands of narrative [and] translator Jessica Cohen turns the performance into fluent, American-style patter. Ken Kalfus, The Washington Post
Accomplished and audacious . . . An Israeli offspring of Philip Roth s Portnoy s Complaint and Dostoyevsky s Notes from the Underground [that is] laced with loss and leave-taking . . . Grossman has once more proved himself as one of Israel s finest literary alchemists. Benjamin Balint, Haaretz
I have never read a book like this, or even thought that one could exist . . . A hard, fast, and bumpy ride through the deserts of Israel and the soul. Rafael Alvarez, Washington Independent Review of Books
Arresting . . . Entertaining. Paul Wilner, San Francisco Chronicle
Grossman brings real humanity to this heart-wrenching and well-written novel, offering insight into one man s psychological
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makeup and how society has damaged him. An excellent translation; highly recommended. Lisa Rohrbaugh, Library Journal
Praise from the UK
Grossman has transcended genre, or rather, he has descended deep into the vaults beneath . . . This isn t just a book about Israel: it s about people and societies horribly malfunctioning. Sometimes we can only apprehend these truths through story and Grossman has become a master of the truth-telling tale . . . These are important questions at this moment in history, a time of trickery and lies. This is a novel for our new Age of Offence offence easily taken and endlessly performed. Ian Sansom, The Guardian
A polemic of unusual power . . . Shocking, raw, and eloquent. . . Grossman has pushed down deep into the wounded heart of a despairing man . . . A Horse Walks into a Bar is unlike anything Grossman has yet done. Eileen Battersby, The Irish Times
Grossman s latest offering is a short, shocking masterpiece . . . in which absurdity and humour are used to probe the darkest corners of the human condition . . . It is a tale of nerve-shredding psychological and spiritual torture, the kind of story that is so dark that the only defence against it is darker laughter. Adam Lively, The Sunday Times (London)
It takes an author of Mr. Grossman s stature to channel not a failed stand-up but a shockingly effective one . . . This book feels far removed from Falling out of Time . . . Both books, however, circle around dramatic acts of mourning: the first as lyric tragedy, the second as pitch-black comedy. Jonathan Cape, The Economist
Praise from Europe
"Literature at its highest, and most enchanting." Il Mattino (Italy)
"Grossman has written a beautiful and hypnotizing book, on the friction between tragedy both personal and collective and life, which must go on." Il Messaggero (Italy)
"A psychological, intimate chamber drama whose choreography and eloquence captivate and pain the reader in equal measure . . . By the end, the book not only radiates humanity but demands it as well." Leipziger Volkszeitung (Germany)
"A magnificent book about the different levels of being that we carry within ourselves." Le Monde (France)
"Resonant of Dostoyevsky and Kafka . . . The novel is not about one man alone; its significance lies in the exposure of the failings of humanity. We knew that stand-up comedy is inflammatory, but we didn't know that it can reveal the flames of hell." Transfuge (France)
Praise from the UK
Grossman has transcended genre, or rather, he has descended deep into the vaults beneath . . . This isn t just a book about Israel: it s about people and societies horribly malfunctioning. Sometimes we can only apprehend these truths through story and Grossman has become a master of the truth-telling tale . . . These are important questions at this moment in history, a time of trickery and lies. This is a novel for our new Age of Offence offence easily taken and endlessly performed. Ian Sansom, The Guardian
A polemic of unusual power . . . Shocking, raw, and eloquent. . . Grossman has pushed down deep into the wounded heart of a despairing man . . . A Horse Walks into a Bar is unlike anything Grossman has yet done. Eileen Battersby, The Irish Times
Grossman s latest offering is a short, shocking masterpiece . . . in which absurdity and humour are used to probe the darkest corners of the human condition . . . It is a tale of nerve-shredding psychological and spiritual torture, the kind of story that is so dark that the only defence against it is darker laughter. Adam Lively, The Sunday Times (London)
It takes an author of Mr. Grossman s stature to channel not a failed stand-up but a shockingly effective one . . . This book feels far removed from Falling out of Time . . . Both books, however, circle around dramatic acts of mourning: the first as lyric tragedy, the second as pitch-black comedy. Jonathan Cape, The Economist
Praise from Europe
"Literature at its highest, and most enchanting." Il Mattino (Italy)
"Grossman has written a beautiful and hypnotizing book, on the friction between tragedy both personal and collective and life, which must go on." Il Messaggero (Italy)
"A psychological, intimate chamber drama whose choreography and eloquence captivate and pain the reader in equal measure . . . By the end, the book not only radiates humanity but demands it as well." Leipziger Volkszeitung (Germany)
"A magnificent book about the different levels of being that we carry within ourselves." Le Monde (France)
"Resonant of Dostoyevsky and Kafka . . . The novel is not about one man alone; its significance lies in the exposure of the failings of humanity. We knew that stand-up comedy is inflammatory, but we didn't know that it can reveal the flames of hell." Transfuge (France)
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