Marie-Claire Pasquier Books

Situé dans les environs de Newark, à l'époque où éclate une terrible épidémie de polio, Némésis décrit avec précision le jeu des circonstances sur nos vies. Pendant l'été 1944, Bucky Cantor, un jeune homme de vingt-trois ans, vigoureux, doté d'un grand sens du devoir, anime et dirige un terrain de jeu. Lanceur de javelot, haltérophile, il a honte de ne pas avoir pris part à la guerre aux côtés de ses contemporains en raison de sa mauvaise vue. Tandis que la maladie provoque des ravages parmi les enfants qui jouent sur le terrain, Roth nous fait sentir chaque parcelle d'émotion que peut susciter une telle calamité : peur, panique, colère, perplexité, souffrance et peine. Des rues de Newark au camp de vacances rudimentaire, haut dans les Poconos, Némésis dépeint avec tendresse le sort réservé aux enfants, le glissement de Cantor dans la tragédie personnelle et les effets terribles que produit une épidémie de polio sur la vie d'une communauté de Newark, étroitement organisée autour de la famille.

»Es ließen sich schwerlich drei Männer finden, die Seite an Seite saßen und besser wussten, was der Fluss sagte.« Für die drei Maclean-Männer ist das Fliegenfischen mehr als eine Leidenschaft. Pastor Maclean beginnt früh, seine Söhne in der Kunst des Fliegenfischens zu unterweisen. »In unserer Familie gab es keine klare Trennungslinie zwischen Religion und Fliegenfischen«, so beginnt die autobiographische Erzählung von Norman Maclean. Die Brüder sind verschieden - intellektuell und wild der eine, bodenständig und ruheliebend der andere. Das Fliegenfischen aber verbindet sie, gerade dann, wenn sie nicht die richtigen Worte finden. Der Sommer des Jahres 1937, den die Brüder in ihrer Heimat im Westen von Montana verbringen, nimmt ein tragisches Ende, als einer der beiden erschlagen aufgefunden wird. Die Summe von Norman Macleans Lebenserfahrung ist auch die Summe der amerikanischen Literatur, in der Tod und Vertreibung aus dem Paradies, spirituelle wie konkrete Erfahrungen, Versuchung und Versöhnung immer einen Platz hatten.

Focusing on Cantor's dilemmas as polio begins to ravage his playground - and on the everyday realities he faces - this title leads us through various emotions such a pestilence can breed: the fear, the panic, the anger, the bewilderment, the suffering, and the pain.

NATIONAL BESTSELLER • Nathan Zuckerman returns to New York in the final installment of the renowned Zuckerman series, a novel about love, mourning, desire, and animosity by “one of the greatest living American writers” (San Francisco Chronicle), the Pulitzer Prize–winning author of American Pastoral. Alone for eleven years on his New England mountain, Zuckerman has been nothing but a writer: no media, no terrorist threats, no women, no tasks other than his work and the enduring of old age. Walking the streets of New York after so many years away, he quickly makes three connections that explode his carefully protected solitude. Now Zuckerman plays out an interior drama of vivid and poignant possibilities. Revisiting the characters from Roth's much-heralded The Ghost Writer, Exit Ghost is an astounding leap into yet another phase in this great writer's oeuvre.

Everything is over for Simon Axler, the protagonist of Philip Roth's startling new book. One of the leading American stage actors of his generation, now in his 60s, he has lost his magic, his talent, and his assurance. His Falstaff and Peer Gynt and Vanya, all his great roles, "are melted into air, into thin air". When he goes on stage he feels like a lunatic and looks like an idiot. His confidence in his powers has drained away; he imagines people laughing at him; he can no longer pretend to be someone else. "Something fundamental has vanished." His wife has gone, his audience has left him, his agent can't persuade him to make a comeback. Into this shattering account of inexplicable and terrifying self-evacuation bursts a counterplot of unusual erotic desire, a consolation for the bereft life so risky and aberrant that it points not toward comfort and gratification but to a yet darker and more shocking end. In this long day's journey into night, told with Roth's inimitable urgency, bravura, and gravity, all the ways that we persuade ourselves of our solidity, all our life's performances - talent, love, sex, hope, energy, reputation - are stripped off. Following the dark meditations on mortality and endings in Everyman and Exit Ghost, and the bitterly ironic retrospective on youth and chance in Indignation, Roth has written another in his haunting group of late novels.