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Der blinde Mörder (2000)

von Margaret Atwood

Weitere Autoren: Siehe Abschnitt Weitere Autoren.

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen / Diskussionen
15,568378302 (3.93)1 / 1045
Die 82-jährige Iris blickt auf ihr Leben und die Ereignisse um den frühen Tod ihrer Schwester Laura unmittelbar nach dem Ende des 2. Weltkriegs zurück und versucht sich Klarheit zu verschaffen. Laura, die durch die posthume Veröffentlichung ihres Romans "Der blinde Mörder" schlagartig berühmt wurde, hatte sich das Leben genommen. - Raffiniert konstruierte Liebesgeschichte aus dem Kanada der 30er Jahre. (Irmgard Andrae) Die verarmte 82-jährige Iris blickt auf ihr Leben und vor allem auf die Ereignisse um den frühen Tod ihrer Schwester Laura in den 40er-Jahren zurück, die sich nach dem Tod des geliebten Mannes von einer Brücke stürzte und in deren Schatten Iris selbst jahrelang lebte. (Irmgard Andrae)… (mehr)
  1. 182
    Abbitte von Ian McEwan (browner56)
    browner56: Two superbly crafted explorations of the cathartic power that comes from the act of writing.
  2. 50
    Ein verborgenes Leben von Sebastian Barry (rbtanger)
  3. 51
    Zum Leuchtturm von Virginia Woolf (the_awesome_opossum)
  4. 41
    Familienalbum von Kate Atkinson (Smiler69)
  5. 20
    A Tale for the Time Being von Ruth Ozeki (sturlington)
    sturlington: Writers and books within books.
  6. 31
    Fall on Your Knees von Ann-Marie MacDonald (jhedlund, djmccord73)
    djmccord73: family history, secrets
  7. 10
    Das Schmetterlingsmädchen: Roman von Laura Moriarty (thea-block)
    thea-block: Pictures of the whole a woman's life, exploring how early decisions effect the rest of their lives.
  8. 10
    Die Entscheidung: Roman von Douglas Kennedy (Pedrolina)
  9. 21
    Die Frau, die es nicht gab. von Maggie O'Farrell (rbtanger)
  10. 10
    Die Stunden von Michael Cunningham (sturlington)
  11. 10
    Wenn ich bei dir bin von Linn Ullmann (KayCliff)
    KayCliff: Laura Chase in The Blind Assassin falls to her death from a bridge over a ravine, just as Stella falls to hers from a roof. The Blind Assassin is concerned with finding out why Laura fell, with newspaper reports given, excerpts from a novel quoted, and passages of narration from Laura's sister -- all out of chronological sequence; just as the cause of Stella's fall is sought through Ullmann's novel by a variety of narrators, with excerpts from a video, all simililarly out of chronological order. Both Stella and Laura act as nurses, and fall prey to unprincipled men. Both novels include a pair of sisters whose mother dies when they are young, leaving the elder girl to take care of the younger; children with absent or unknown fathers; and someone very old, near to their own death, who loved Laura/Stella. Laura's sister fancies, `there was no floor to my room: I was suspended in the air, about to plummet. My fall would be endless -- endlessly down'. Stella's daughter tells her sister, `Mama fell off a roof, Mama's falling still. She falls and falls and never hits the ground'.… (mehr)
  12. 00
    Glass Mountain von Cynthia Voigt (electronicmemory)
    electronicmemory: Two books that are slow, close character studies of our protagonists. They both have lovely prose, vivid imagery and nuance.
  13. 78
    Die Bücherdiebin von Markus Zusak (Anonymer Nutzer)
  14. 01
    Autumn Laing von Alex Miller (jll1976)
    jll1976: Similar themes and style. Also a 'death bed confessional'.
  15. 23
    Die Geschichte der Liebe von Nicole Krauss (PrincessPaulina)
    PrincessPaulina: Main characters are seniors, reexamining their biographies at the end of their lives.
  16. 34
    Die Liebe in Zeiten der Cholera von Gabriel Garcia Marquez (electronicmemory)
    electronicmemory: Historical settings come alive in these novels about the complexities of life among close-knit high society social circles.
  17. 02
    Mein Leben als Fälschung von Peter Carey (PghDragonMan)
    PghDragonMan: Deception is layered on deception until even the truth looks false.
Canada (10)
To Read (615)
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» Siehe auch 1045 Erwähnungen/Diskussionen

The Blind Assassin is, quite simply, one of the best books I have ever read. It is a matryoshka doll of stories. At first, I was wondering what the stories had to do with one another, but it soon becomes obvious that they are multi-layered and interrelated.

Protagonist Iris is writing her memoir in 1999, looking back on events that took place during the 1930’s and 1940’s. News articles are inserted periodically to provide an exterior perspective. It is a story of Iris and her younger sister, Laura, who grow up in a privileged family. The patriarch experiences setbacks due to the Great Depression, and needs an infusion of cash, so he arranges a marriage between Iris and a wealthy industrialist. The sisters meet a working-class labor activist, who is blamed for an incendiary incident.

A science fiction story, told by a man to his lover, is interwoven into the memoir, along with a narrative of what is going on in Iris’s life in the present. The narrative requires the reader’s active engagement, constantly thinking and evaluating, fitting the puzzle pieces together, until the full picture emerges at the end.

Though a structural device is employed, there are multiple strong storylines supporting it. Atwood does not just add an artificial structure for its own sake. As the story progresses, various clues are revealed. The reader’s interpretation of these clues changes the meaning of events that came before. It is Margaret Atwood at her finest. Just brilliant!
( )
  Castlelass | Oct 30, 2022 |
This was slow going at first, but about half-way through the book I was hooked. The intertwined plots, with the characters in one of them unnamed, kept me guessing to the end. I’ll read this again sometime soon, I think, to see if it reveals anything I missed this time.
  MarjorieDT | Aug 16, 2022 |
Matter-of-factly we’re given the moment that the main character’s life changed forever, but as we follow the narration of her life as well as insertions of the titular fictional novel things don’t seem so clear. The Blind Assassin by Margaret Atwood is a novel within a novel—with another novel within the first—historical fiction whose multilayered unfolding mystery is peeled away until everything falls into place just as you get to the end of the book.

An elderly Iris Chase Griffin pens her autobiography that also is a biography of her famous sister Laura, whose posthumous novel the titular The Blind Assassin has a cult status in literary circles. While Iris’ biographical narration is the bulk of the novel, Atwood includes faux news articles and insertions from The Blind Assassin. But its these insertions from this novel within the novel begin revealing a different version of history of Laura’s life as well as Iris’ which would have surprised her deceased daughter who had been estranged from her. Atwood’s layered writing of biography, pulp fiction, and newspaper reports with subtle misdirection in the beginning and subtle revealing throughout the book creates a very engaging read that keeps the reader wanting to find out what really happened. Honestly, it was only in research after finishing that I learned of the Canadian history that Atwood wove into the narrative after thinking that the various real life individuals name dropped were fictional thus making me not understand the importance of some of the political talk—thanks to Iris’ politically ambitious husband—that was occurring within the novel.

The Blind Assassin was my first Margaret Atwood work and after finishing it, I can say that it will not be my last. ( )
  mattries37315 | Aug 14, 2022 |
Iris Chase, ya anciana, invoca el pasado con la distancia y el escepticismo de quien no tiene nada que perder. Contempla las huelgas, cierres de fábricas y el idealismo de los jóvenes comunistas; los viajes en lujosos transatlánticos y los encuentros en sórdidas pensiones. Y al recordar, descubre la relación que la unía con su hermana Laura y los hechos que marcaron el destino de ésta. Buscará, sobre todo, justicia, desvelar la verdad y con ella encontrar el amor y el perdón. Este libro fue premio Booker 2000.
  Natt90 | Jul 13, 2022 |
A gondolatból, hogy a regény motorja a konfliktus, juthatunk arra a következtetésre, hogy minél brutálisabban csördítünk oda szereplőinknek, annál jobban süvít majd a járgány. De ha ez a logika maradéktalanul igaz lenne, akkor a világ legjobb regénye az lenne, amiben a legtöbben halnak meg, a főszereplő pedig a legelképzelhetetlenebb kínokat éli át. Viszont nem ezt tapasztaljuk: a világ legjobb regényeit nem a konfliktus mérete alapján sorolhatjuk ugyanis egy halmazba, hanem a tér alapján, amiben ez a(z akármekkora) konfliktus zajlik.

Atwood pedig mestere annak, hogy ezt a teret megteremtse. Van hozzá türelme, például. Ráérősen vezet be minket elbeszélőjének, Irisnek az univerzumába, előbb komótosan bemutatja jelenét, azt, ahogy készül elszakadni a világtól, egyetlen utolsó üzenetbe sűrítve maradék erejét. Aztán lépünk csak át a múltba, ahol majd kibomlik ez az üzenet. Ott sem hagyja sürgetni magát, tudja, először fel kell építeni a szereplőket, csak akkor adhat súlyt annak, ami velük történik. (Hogy közben - mintegy mellesleg - körképet ad a komplett XX. századi kanadai történelemről, benne a két háborúval éppúgy, mint a munkások érdekvédelmi küzdelmeivel, az csak hab a tortán.) Mert az, ami történni fog (vö.: konfliktus, azaz, ne féljünk a konkrétumoktól: Laura halála), tulajdonképpen már az első fejezetekben elénk tárul, mondhatni, adott – Atwoodnak a továbbiakban nincs és nem lehet más dolga, mint köréjük írni a többit, az embereket, a színpadot, a mondatokat. Az utat egy tragédiához. Nem arra hajt, hogy meglepjen minket, egyszerűen bízik saját képességeiben: hogy a két testvért, Irist és Laurát képes lesz szavakból megfaragni, tévedéseikkel és bűneikkel együtt élővé tenni. Mert akkor lesz a mi történetünk két vadidegen és fiktív személy története. Az pedig, hogy Atwood ezt végre tudja hajtani – a salto mortalét száz méterrel az irodalmi cirkusz porondja fölött –, piszok erős érzékenységről és páratlan ütemérzékről tanúskodik. Jó, hogy van nekünk egy Atwood. ( )
  Kuszma | Jul 2, 2022 |
Margaret Atwood poses a provocative question in her new novel, "The Blind Assassin." How much are the bad turns of one's life determined by things beyond our control, like sex and class, and how much by personal responsibility? Unlike most folks who raise this question so that they can wag their finger -- she's made her bed, and so on -- Atwood's foray into this moral terrain is complex and surprising. Far from preaching to the converted, Atwood's cunning tale assumes a like-minded reader only so that she can argue, quite persuasively, from the other side.
hinzugefügt von stephmo | bearbeitenSalon.com, Karen Houppert (Dec 12, 2000)
 
In her tenth novel, Margaret Atwood again demonstrates that she has mastered the art of creating dense, complex fictions from carefully layered narratives, making use of an array of literary devices - flashbacks, multiple time schemes, ambiguous, indeterminate plots - and that she can hook her readers by virtue of her exceptional story-telling skills. The Blind Assassin is not a book that can easily be put to one side, in spite of its length and the fact that its twists and turns occasionally try the patience; yet it falls short of making the emotional impact that its suggestive and slippery plot at times promises.
hinzugefügt von stephmo | bearbeitenThe Guardian, Alex Clark (Sep 30, 2000)
 
Ms. Atwood's absorbing new novel, ''The Blind Assassin,'' features a story within a story within a story -- a science-fiction yarn within a hard-boiled tale of adultery within a larger narrative about familial love and dissolution. The novel is largely unencumbered by the feminist ideology that weighed down such earlier Atwood novels as ''The Edible Woman'' and ''The Handmaid's Tale,'' and for the most part it is also shorn of those books' satiric social vision. In fact, of all the author's books to date, ''The Blind Assassin'' is most purely a work of entertainment -- an expertly rendered Daphne du Maurieresque tale that showcases Ms. Atwood's narrative powers and her ardent love of the Gothic.
 
In her ingenious new tale of love, rivalry, and deception, The Blind Assassin, Margaret Atwood interweaves several genres — a confessional memoir, a pulp fantasy novel, newspaper clippings — to tease out the secrets behind the 1945 death of 25-year-old socialite Laura Chase.
 
Nearly 20 years ago, in speaking of her craft, the novelist Margaret Atwood observed that ''a character in a book who is consistently well behaved probably spells disaster for the book.'' She might have asserted the more general principle that consistent anything in a character can prove tedious. If we apply the old Forsterian standard that round characters are ones ''capable of surprising in a convincing way,'' Atwood's new novel, for all its multilayered story-within-a-story-within-a-story construction, must be judged flat as a pancake. In ''The Blind Assassin,'' overlong and badly written, our first impressions of the dramatis personae prove not so much lasting as total.
hinzugefügt von stephmo | bearbeitenNew York Times, Thomas Mallon (Sep 3, 2000)
 

» Andere Autoren hinzufügen (35 möglich)

AutorennameRolleArt des AutorsWerk?Status
Margaret AtwoodHauptautoralle Ausgabenberechnet
Belletti, RaffaellaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Dionne, MargotErzählerCo-Autoreinige Ausgabenbestätigt
Pulice, Mario JUmschlaggestalterCo-Autoreinige Ausgabenbestätigt
Tarkka, HannaÜbersetzerCo-Autoreinige Ausgabenbestätigt
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Imagine the monarch Agha Mohammad Khan, who orders the entire population of the city of Kerman murdered or blinded—no exceptions. His praetorians set energetically to work. They line up the inhabitants, slice off the heads of the adults, gouge out the eyes of the children. . . . Later, processions of blinded children leave the city. Some, wandering around in the countryside, lose their way in the desert and die of thirst. Other groups reach inhabited settlements...singing songs about the extermination of the citizens of Kerman. . . .

—Ryszard Kapuściński
I swam, the sea was boundless, I saw no shore.
Tanit was merciless, my prayers were answered.
O you who drown in love, remember me.

— Inscription on a Carthaginian Funerary Urn
The word is a flame burning in a dark glass.

—Sheila Watson
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Ten days after the war ended, my sister Laura drove a car off a bridge. The bridge was being repaired: she went right through the Danger sign. The car fell a hundred feet into the ravine, smashing through the treetops feathery with new leaves, then burst into flames and rolled down into the shallow creek at the bottom. Chunks of the bridge fell on top of it. Nothing much was left of her but charred smithereens.
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Farewells can be shattering, but returns are surely worse. Solid flesh can never live up the bright shadow cast by its absence.
What virtue was once attached to this notion—of going beyond your strength, of not sparing yourself, of ruining your health! Nobody is born with that kind of selflessness: it can be acquired only by the most relentless discipline, a crushing-out of natural inclination, and by my time the knack or secret of it must have been lost.
I'm sorry, I'm just not interested.
Or perhaps she's just softening me up: she's a Baptist, she'd like me to find Jesus, or vice versa, before it's too late. That kind of thing doesn't run in her family: her mother Reenie never went in much for God. There was mutual respect, and if you were in trouble, naturally you'd call on him, as with lawyers, but as with lawyers, it would have to be bad trouble. Otherwise it didn't pay to get too mixed up with him.
She knew the family histories, or at least something about them. What she would tell me varied in relation to my age, and also in relation to how distracted she was at the time. Nevertheless, in this way I collected enough fragments of the past to make a reconstruction of it, which must have borne as much relation to the real thing as a mosaic portrait would to the original. I didn't want realism anyway: I wanted things to be highly coloured, simple in outline, without ambiguity, which is what most children want when it comes to the stories of their parents. They want a postcard.
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Die 82-jährige Iris blickt auf ihr Leben und die Ereignisse um den frühen Tod ihrer Schwester Laura unmittelbar nach dem Ende des 2. Weltkriegs zurück und versucht sich Klarheit zu verschaffen. Laura, die durch die posthume Veröffentlichung ihres Romans "Der blinde Mörder" schlagartig berühmt wurde, hatte sich das Leben genommen. - Raffiniert konstruierte Liebesgeschichte aus dem Kanada der 30er Jahre. (Irmgard Andrae) Die verarmte 82-jährige Iris blickt auf ihr Leben und vor allem auf die Ereignisse um den frühen Tod ihrer Schwester Laura in den 40er-Jahren zurück, die sich nach dem Tod des geliebten Mannes von einer Brücke stürzte und in deren Schatten Iris selbst jahrelang lebte. (Irmgard Andrae)

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