Memories of the Future
'A 21st-century Virginia Woolf' - Literary Review
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Memories of the Future
ナレーター：
Katherine Fenton
￥2,700 で購入
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ナレーター：
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Katherine Fenton
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著者：
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Siri Hustvedt
このコンテンツについて
As she listens to Lucy through the thin walls of her dilapidated building, S.H. transcribes her neighbour's bizarre and increasingly ominous monologues in a notebook, along with sundry other adventures, until one night when Lucy bursts into her apartment to rescue S.H. from a frightening situation.
Forty years later, S.H., now a veteran author, discovers her old notebook along with drafts of a never-completed novel at her mother's house. Ingeniously juxtaposing the various texts, S.H. measures what she remembers against what she wrote that year, creating a dialogue between selves across decades and reframing the past in the present.
Urgently paced, intellectually rigorous, poignant and often wildly funny, MEMORIES OF THE FUTURE brings together themes that have made Hustvedt among the most celebrated novelists working today: the fallibility of memory; gender mutability; the violence of patriarchy; the vagaries of perception; the ambiguous relation between sensation and thought, sanity and madness; and our dependence on primal drives such as sex, love, hunger, and rage.
(P)2019 Hodder & Stoughton Limited
批評家のレビュー
A multilayered portrait of the artist as a young woman . . . S. H. lays an array of selves, fictive and autobiographical, over each other like transparencies, to reveal deeper patterns. The fallibility of memory, madness and the artistic process are all incisively traced, but male entitlement emerges as the most insistent motif . . . Hustvedt has the imaginative mastery to encase complex ideas in the flesh and blood needed to render them visceral. (Benjamin Evans)
Provocative and mysterious, this fictionalised portrait of the author as a young woman is comic and sensual as well as thematically meaty, touching on memory, witchcraft and male violence. (Hephzibah Anderson)
This is playful, self-referential, cerebral stuff . . . [the] unlikely combination comes off marvellously, like a freewheeling doodle by an artist who has spent years perfecting their craft. The humorous, wise voice of SH holds everything lightly together with clever observations on writing, time and imagination. (Claire Lowdon)
A portrait of the artist, certainly, and of New York in the 1970s, which Hustvedt joyously depicts as hot, dirty and cacophonous. But it's also far more than that. As layered as a millefeuille, as dense and knotted as tapestry, it feels, by the time you reach the final pages, less like a novel and more like an intellectual reckoning; an act of investigation into how, as a woman, it is possible to live well in the world, and enter effectively into the conversation about it. It's a mark of Hustvedt's thoroughgoing intelligence that the idea of investigation is another of the novel's explicit themes, as well as an aspect of its undertaking . . . [a] teasing, complex, disconcerting novel (Sarah Crown)
[Hustvedt] writes beautifully on memory . . . And she captures the power of past narrative to shape a life to come . . . This is a book that merits rereading, not least because it's trying to build something new . . . Hustvedt's novelistic renovation is nostalgic and brave in equal measure. She's made just enough architectural moves to make you look at the space anew. (Sophie Ratcliffe)
Reading a Hustvedt novel is like consuming the best of David Lynch on repeat . . . [SH's] gauche girl detective persona conceals (of course) a formidable intellect roving among Hustvedt's favoured subjects of neuroscience, philosophy, literature and gender, and what is most interesting in the book is to see how that gradually assimilates with events around her . . . Ideas somersault nimbly in the novel as memoir jostles with memories . . . both SH and her creator appear, in this intense, high-spirited Bildungsroman, to have come full circle. (Catherine Taylor)
Captivating, smart and witty (Hayley Thompson)
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