Here is a book in a magical category of one, a truly outstanding, resonant and original work, in a bold and daring new form, which breaks the mould of storytelling. It tells an intimate, everyday story of grief, love, attachment and loss through the voices of a fabulous range of characters - in some ways it recalls Under Milk Wood. Nadia Danon is ...Read MoreHere is a book in a magical category of one, a truly outstanding, resonant and original work, in a bold and daring new form, which breaks the mould of storytelling. It tells an intimate, everyday story of grief, love, attachment and loss through the voices of a fabulous range of characters - in some ways it recalls Under Milk Wood. Nadia Danon is dead, of cancer. Her widower, Albert, an accountant (who bears an odd resemblance to Amos), is trying to put his life back together. Her son has gone off to lose or find himself in Tibet. The son's girlfriend, a filmmaker, is back in Israel, making friendly, daughterly overtures to Albert - his response is less platonic. Meanwhile she has another lover and a rather repellent film producer also lusts after her. There are other wonderful characters. Theirs are the voices and the stories. It is beautiful, funny, heartbreaking, sexy, poetic, full of echoes and allusions, and yet with an astonishing immediacy and contemporaneity., and pure joy to read.Read Less
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New. Oz's most adventurous and inventive novel, this is the book by which he would like to be remembered. The cast of characters ranges from a prodigal son to a widowed father who has taken in his son's enticing young girlfriend. In this human profusion there is chaos and order, love and eroticism, loyalty and betrayal, and ultimately an extraordinary energy.
Publishers Weekly, 2001-09-03 A meditation, a lamentation, a quest for meaning, a story of family love and of erotic longing, and a vibrantly poetic prose poem, this latest novel by one of Israel's preeminent writers ends with a tentative (but only tentative) affirmation about the future of his nation. That message is the subtle subtext of this narrative of intertwined lives. Albert Danon is a mild accountant whose beloved wife, Nadia, has died, and whose son, Rico, has exiled himself to Tibet, Bangladesh and other remote places where he is haunted by his mother's memory and by his conviction that "everyone... is condemned to wait for their own death locked in a separate cage." Another member of this restless, bitter generation, Rico's girlfriend, Dita, moves in with Albert when a shabby film producer cheats her of all her money. Suffused with lust and shame, Albert desires Dita, even while an elderly widow yearns for him; meanwhile, Dita sleeps with Rico's best friend. This small domestic comedy is expressed in musical language charged with lyric intensity, translated by de Lange in collaboration with the author. The free-form verse hovers on the edge of poetry, sometimes slipping into rhyme. A singing bird, the desert and the eternal sea are recurring images, and references to biblical passages add texture. The characters, including the narrator, live in the shadow of their own mortality and general fear. "We have wandered enough; it is time to make peace," the narrator muses. Perhaps, the reader feels, Nadia represents the lost dream of peace that hovers in the memory. In a prefatory statement, Oz (Panther in the Basement, etc.) writes that he thinks this book comes closest to what he wants to say. His eloquent message illuminates a book of classic resonance and haunting literary beauty. 9-city author tour. (Oct.) Forecast: Because of its unconventional format, hovering between prose and verse, this novel may depend on hand-selling to discriminating readers. Oz's existing audience, however, will respond to his usual mixture of cynicism and hope. (c) Copyright PWxyz, LLC. All rights reserved
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