Kirjahaku

A stunning and deeply moving literary debut of grief, loss and female friendship, set against the backdrop of two cataclysmic natural events.

A stunning and deeply moving literary debut of grief, loss and female friendship, set against the backdrop of two cataclysmic natural events. When six-year-old Marissa loses her mother, she is taken by her father to live on a small Thai island in the Andaman Sea. There, she forms a deep friendship with Arielle and together they explore the fragile wonders of its forests, reefs, and beaches. Holding their breath for minutes at a time, they learn to dive into the deep, as effortlessly synchronized as the manta rays they come to know by name. Then, on Boxing Day 2004, when the Indian Ocean tsunami makes landfall, they are swept up by the first wave and separated. Eight years later, Marissa is living in New York. She spends her days wandering through the city and her nights seeking solace in the beds of strangers. As the city prepares for a devastating storm, Marissa reflects on her past and learns how to sustain herself in a precarious world. Under Water is a story about friendship and grief, but also ecological change and natural disasters. It is a meditation on loss, a tribute to our dying oceans and forests, and a love letter to the disappearing coral reefs. “A novel of remarkable delicacy and power, Under Water is about grief, friendship, home, and longing. Menon writes exquisite sentences, sensual and particular, each containing an entire world.”—Katie Kitamura, author of Audition and Intimacies "Tara Menon beautifully evokes the intensity of a young woman's lost friendship, and the extraordinary natural world - on land and in the ocean - in which that friendship was forged. Under Water, in equal measure compelling and heart wrenching, is a remarkable debut. " —Claire Messud, author of This Strange Eventful History and The Emperor’s Children “Reading Under Water is like being under water: immersive and stirring, pellucid and mysterious, shot through with light and with shades, overwhelming and exquisite–in a word, sublime.” —Namwali Serpell, author of The Old Drift and The Furrows

Kun kuusivuotias Marissa menettää äitinsä, hän muuttaa meribiologi-isänsä kanssa asumaan pienelle saarelle Andamaanienmerelle Thaimaan rannikolle. Yhdessä parhaan ystävänsä Ariellen kanssa he tutkivat saaren rantojen ja koralliriuttojen hauraita ihmeitä. Tytöt oppivat tuntemaan kirkkaissa vesissä liitävät majesteettiset paholaisrauskut nimeltä ja sukeltamaan niiden kanssa yhä syvemmälle pinnan alle. Tapaninpäivänä 2004 Intian valtameren tsunami iskee maihin, ja ensimmäinen aalto tempaa tytöt mukaansa. Kahdeksan vuotta myöhemmin Marissa asuu New Yorkissa. Kaupungin valmistautuessa hurrikaani Sandyn tuloon Marissa joutuu kohtaamaan uudelleen nuoruutensa trauman. Upoksissa on tarina ystävyydestä ja surusta, mutta myös ekologisesta tuhosta ja luonnonkatastrofeista. Se on kunnianosoitus kuoleville valtamerille sekä rakkauskirje katoaville koralliriutoille.

A stunning and deeply moving literary debut of grief, loss and female friendship, for readers of Richard Powers and Claire Keegan.

How direct speech in the novel shapes our understanding of literary characters and their social worlds For many readers, to think of nineteenth-century fiction is to recall characters speaking: Elizabeth refusing Darcy in Pride and Prejudice; Jane excoriating Rochester in Jane Eyre; Dorothea and Celia discussing Mr. Casaubon in Middlemarch. And yet literary critics have had surprisingly little to say about the narrative effects of dialogue. In Speaking Parts, Tara Menon shows how direct speech—words enclosed in quotation marks that appear to be the exact utterances of characters—shapes our understanding of fictional characters and the social worlds they inhabit. Combining computational tools and close literary analysis, Menon reinstates direct speech to its rightful place in narrative theory, worth of the critical seriousness afforded to such other features of narrative as free indirect discourse. After quantifying direct speech in nearly one thousand British novels written between 1789 and 1901, Menon turns her attention to several canonical nineteenth-century works of fiction by Jane Austen, Charlotte Brontë, and George Eliot. She considers, among other things, the ways that Austen establishes sympathy for certain characters through her allotment of speech; the narrative significance of speaking characters not given proper names in Jane Eyre; and the social isolation of Dorothea in Middlemarch, as revealed by speech networks. Menon shows not only how the study of direct speech allows us to make new arguments about these well-known texts but also that data analysis of speech can change the way we think about characters, individual novels, and even genres.

How direct speech in the novel shapes our understanding of literary characters and their social worlds For many readers, to think of nineteenth-century fiction is to recall characters speaking: Elizabeth refusing Darcy in Pride and Prejudice; Jane excoriating Rochester in Jane Eyre; Dorothea and Celia discussing Mr. Casaubon in Middlemarch. And yet literary critics have had surprisingly little to say about the narrative effects of dialogue. In Speaking Parts, Tara Menon shows how direct speech—words enclosed in quotation marks that appear to be the exact utterances of characters—shapes our understanding of fictional characters and the social worlds they inhabit. Combining computational tools and close literary analysis, Menon reinstates direct speech to its rightful place in narrative theory, worth of the critical seriousness afforded to such other features of narrative as free indirect discourse. After quantifying direct speech in nearly one thousand British novels written between 1789 and 1901, Menon turns her attention to several canonical nineteenth-century works of fiction by Jane Austen, Charlotte Brontë, and George Eliot. She considers, among other things, the ways that Austen establishes sympathy for certain characters through her allotment of speech; the narrative significance of speaking characters not given proper names in Jane Eyre; and the social isolation of Dorothea in Middlemarch, as revealed by speech networks. Menon shows not only how the study of direct speech allows us to make new arguments about these well-known texts but also that data analysis of speech can change the way we think about characters, individual novels, and even genres.

Mõjus ja südantlõhestav, märkimisväärne debüütromaan. Claire MessudPinev, üdini liigutav kirjanduslik debüüt sõpruse jõust kahe hävitava looduskatastroofi taustal. Kui kuueaastane Marissa ema kaotab, viib isa ta endaga kaasa väikesele Tai saarele Andamani meres. Seal sõlmib tüdruk sügava sõpruse Arielle'iga, kellega koos uurivad nad saare metsade, korallrahu ja randade hapraid imesid. Nad õpivad minutite kaupa hinge kinni hoidma ja sukelduma ookeani sügavustesse, tehes seda samasuguse loomuliku sünkroonsusega nagu sarvikraid, keda nad kõiki nimepidi tunnevad. Aga siis, 2004. aasta teisel jõulupühal, kui India ookeani tsunami kohtub maismaaga, uhub esimene laine neid teineteise juurest minema. Kaheksa aastat hiljem elab Marissa New Yorgis. Ta veedab oma päevi linnas uidates ja öid võõrastest vooditest lohutust otsides. Kui linn valmistub hävitavaks tormiks, meenutab Marissa oma minevikku ja õpib, kuidas ebakindlas maailmas ellu jääda. "Vee all" on lugu sõprusest ja leinast, aga ka ökoloogilistest muutustest ja looduskatastroofidest. See on meditatsioon kaotusest, austusavaldus meie surevatele ookeanidele ja metsadele ning armastuskiri järjest enam hävivatele korallrahudele. Tara Menon sündis Indias ja kasvas üles Singapuris. Ta veetis aastakümne New Yorgis ja elab nüüd Cambridge'is, Massachusettsis, kus ta on Harvardi ülikoolis inglise keele õppetooli juures kaasprofessor. Tema kirjutised on ilmunud The New York Times Book Review's, The Nationis ja Paris Review's. Vapustav ja kompleksne; raamat, mis ei paku lihtsaid vastuseid, kuid ei väldi ka keerulisi küsimusi. Kirkus Menoni dünaamiline debüütromaan... mängib kahtlemata lugeja südamekeeltel. Publishers Weekly Erakordset haprust ja väge täis romaan "Vee all" räägib leinast, sõprusest, kodust ja igatsusest. Menoni keelekasutus on haruldaselt peen, sensuaalne ja täpne, igas lauses peidus terve maailm. Katie Kitamura "Vee all" tekitab lugejas tunde, nagu oleks ta ise vee all: see romaan on endasse haarav ja hoovuseid täis, läbipaistev ja müstiline, pikitud valguse ja varjudega, võimas ja erakordselt peen. Ühesõnaga: ülev. Namwali Serpell Tara Menon on imetlusväärse mõõdukusega kirjutanud midagi erakordset: intiimset, ülevat, liigutavat. Menoni raamatut lugedes viibiksid nagu ise vee all, uputatud igatsusse ja puruks rebitud sõpruse leina. Menonil on unikaalne stiil. Ma ei jõua tema järgmist romaani ära oodata. Kasim Ali Tara Menon kujutab imekaunilt ühe noore naise kadunud sõpruse pingelisust ja looduse erakordsust - nii maal kui ka ookeanis -, mille rüpes see sõprus arenes. "Vee all" on ühtviisi mõjus ja südantlõhestav, märkimisväärne debüütromaan. Claire Messud