Turkish author Orhan Pamuk’s latest novel soars to new heights, taking fiction itself to an exhilarating new level and blurring the lines between fiction and reality in new ways. Ostensibly the obsessive love story of Kemal Basmaci, age thirty, for a beautiful shop-girl named Fusun, eighteen, the novel explores much more than that, examining not only the physical passion which underlies their relationship and their lives, but also broader themes involving the connections between love and memory, between memory and reality, and between love and reality. Including metafictional elements in the telling of Kemal’s story, Pamuk himself participates in the story as both a fictional and a real character, adding another level to the story. In a unique tour de force, the author is now creating a (real) Museum of Innocence in Istanbul, located in the house in which Fusun and her fictional family “lived.” In essence, we have author Pamuk creating a fictional story about fictional people, whose real house and the objects in it (described fully in the fictional story) become a real physical memorial to the fictional characters in the love story which Kemal has “asked” Pamuk to write for him.
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Don’t plan to see this film and then go out for a lively night on the town. You will be so spent after the one hundred forty-one minutes of this gut-wrenching film that when the lights come on at the end, you’ll need a minute to figure out where you are, and then additional downtime to process all you’ve seen. Days later, you’ll still be thinking about this slice of life–and Edith Piaf.
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Lowboy is the powerful and moving story of a paranoid schizophrenic teenager who, hospitalized for almost two years, goes off his meds and escapes back to New York City’s subways in an effort to spread his “message” and prevent global warming from destroying life as we have known it. Ali Lateef, a New York City detective whose area of expertise is “Special Category Missing,” is hoping that Will’s mother, “Miss Heller,” sometimes known as Violet, can provide enough information to allow him to find Will in the seven or eight hours before his lack of medication pushes him into violence, but she, too, has her problems. Highly praised for both his imagination and his careful structuring, John Wray is one of the most exciting young novelists in the country today. (On my Favorites List for 2009)
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Once again, Richard Powers has emerged with a new novel which reinvigorates the whole concept of the “novel of ideas.” As the novel opens, an unknown speaker, acting as a kind of narrative seer, describes Russell Stone’s first night as an adjunct professor at Mesquakie College of Art in Chicago. Russell’s class consists of the usual assortment of art students of various ages with various goals, and, through the information they learn from and about each other as they read their journal entries on successive class meetings, they soon become close. Thassadit Amzwar, a twenty-three-year-old Algerian Berber from Kabylie, however, quickly becomes the focus of the entire group for her perennial good humor and upbeat attitudes. At the same time that Thassa is charming and winning her classmates with an optimism that cannot be quenched, Thomas Kurton, a pure scientist studying the human genome is investigating the chemistry that underlies emotions and the genome which may be responsible for human happiness.
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Though Mario Alvarez, in Juan de Recacoechea’s novel American Visa, likes to think of himself as a hero created by one of the great writers of hard-boiled crime stories, he recognizes that, in reality, he is something of a romantic, “a lover of the impossible, a dreamer who never can choose his dream, an incomplete man.” He has come from Oruro to La Paz, Bolivia, to get a tourist visa for the United States, and he has only enough money for a week’s stay at the Hotel California, a seedy hotel in which his room is like “a cell for a Trappist monk.” Learning from an acquaintance that the owner of a travel agency can speed up the visa process for $800, since the agent knows people who work in the visa business, Mario is determined that somehow he will find the money to ensure that he gets his visa. The reader learns Mario’s family history and follows him as he wanders La Paz, a city which has changed dramatically in recent years with the arrival of half a million peasants, many of them Indian. “Local color” in this novel is dark and filled with misery, and as the action evolves and incorporates all levels of society, the sense of dramatic irony increases.
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