سليمان رشدي ....طفولة بائسة يرقى الى يتم اجتماعي ..



سيكون من الجميل ان نطلع على تفاصيل حياة رشدي وطفولته التي اتخيلها بائسة وشاذه الى ابعد حد من خلال مذكراته التي سيصدرها خلال عام 2012 ، ودليل ذلك حبه الجنوني للظهور وتجاوز كل الخطوط الحمر لتحقيق شهره على ذلك الشكل.


ويبدو ايضا انه عاش طفولة محرومة جدا... لكننا نرى بأن ما اصابه من خلال دراسته في مدرسة داخلية، اولا في الهند رغم انه الابن الوحيد ( وفي ذلك غرابه طبعا الا اذا كانت امه قد ماتت في وقت مبكر او انها كانت تعاني من مرض ما؟)، وهو امر كان كافي عند الكاتب الاسترالي بأن يشعره باليتم، ثم سفر رشدي للدراسة في بريطانيا وهو في سن الرابعة عشرة، ثم لا ننسى اثر الحرب الهندية الباكستانية التي حدثت وهو في ريعان الشباب ( 17 سنه ) ومن ثم اضطرار والديه للهجره الى باكستان كل ذلك يؤكد واثر ذلك النفسي المدمر عليه كل ذلك يجلعنا نقول بأن رشيدي عاش طفولة مأزومة ان لم يكن يتم اجتماعي.


مأزوم

والان مع سر الروعة في الرواية :



95 ـ الخصوصية، للمؤلف جيمس إيلروي

The story revolves around a group of LAPD officers in the early 1950s who become embroiled in a mix of sex, corruption, and murder following a mass murder at the Nite Owl coffee shop. The story eventually encompasses organized crime, political corruption, heroin trafficking, pornography, prostitution, institutional racism, and Hollywood. The title refers to the scandal magazine Confidential, which is fictionalized as Hush-Hush. It also deals with the real-life Bloody Christmas scandal.
The three protagonists are LAPD officers. Edmund Exley, the son of a legendary detective, is a "straight arrow" who informs on other officers in a police brutality scandal. This earns the enmity of Wendell "Bud" White, an intimidating enforcer with a personal fixation on men who abuse women. Between the two of them is Jack Vincennes, a flashy cop who moonlights on a police television show and provides tips to a scandal magazine. The three of them must set their differences aside to unravel the conspiracy linking the novel's events.

Ellroy was born in Los Angeles, California, the son of Geneva Odelia (née Hilliker) Ellroy, a nurse, and Armand Ellroy, an accountant and, according to Ellroy, onetime business manager of Rita Hayworth.
After his parents' divorce, Ellroy and his mother relocated to El Monte, California. In 1958, Ellroy's mother was murdered.
تطلق والده وانتقلت الام لتعيش مع ابنه في كاليفورنيا وفي عام 1958 قتلت الام
The police never found the perpetrator, and the case remains unsolved.
لم يعرف البوليس القاتل وظلت القضية بدون حل
The murder, along with reading The Badge by Jack Webb (a book composed of sensational cases from the files of the Los Angeles Police Department, a birthday gift from his father), were important events of Ellroy's youth.
Ellroy's inability to come to terms with the emotions surrounding his mother's murder led him to transfer them onto another murder victim, Elizabeth Short, the "Black Dahlia"; throughout his youth, Ellroy used Short as a surrogate for his conflicting emotions and desires. His confusion and trauma led to a period of intense clinical depression, from which he recovered only gradually.
فشل الروي في التعامل مع عواطفه على اثر مقتل والدته مما ادى الى وقوعه في مشاكل نفسية مثل الكآبة والتي شفي منها بشكل تدريجي وكتب عن حالة قتل اخرى رواية فرغ فيها مشاعره حول قتل امه
Ellroy dropped out of school without graduating.
انفصل عن المدرسة قبل ان يتخرج
He joined the army for a short while.
انضم الى الجيش لفترة قصيرة
During his teens and twenties, he drank heavily and abused Benzedrex inhalers.
بعد مقتل والدته وخلال العشرينيات من عمره ادمن الكحول
He was engaged in minor crimes (especially shoplifting, house-breaking, and burglary) and was often homeless.
ارتكب بعض الجرائم الصغيرة مثل السرقة من المحلات التجارية واقتحام المنازل والسرقة وكان غالبا من دون مأوى
After serving some time in jail and suffering a bout of pneumonia, during which he developed an abscess on his lung "the size of a large man's fist," Ellroy stopped drinking and began working as a golfcaddy while pursuing writing. He later said, "Caddying was good tax-free cash and allowed me to get home by 2 p.m. and write books.... I caddied right up to the sale of my fifth book."
After a second marriage in the mid 1990s to Helen Knode (author of the 2003 novel The Ticket Out), the couple moved from California to Kansas City in 1995.
تزوج للمرة الثانية عام 1990
In 2006, after their divorce, Ellroy returned to Los Angeles.[ He is a self-described hermit who possesses very few technological amenities, including television, and claims never to read contemporary books by other authors, aside from Joseph Wambaugh's The Onion Field, for fear that they might influence his own.[ However, this does not mean that Ellroy does not read at all, as he claims in My Dark Places to have read at least two books a week growing up, eventually shoplifting more to satisfy his love of reading. He then goes on to say that he read works by Dashiell Hammett and Raymond Chandler accompanied by abuse of alcohol and Benzedrex inhalers.

Hallmarks of his work include dense plotting and a relentlessly pessimistic—albeit moral—worldview.[13][14] His work has earned Ellroy the nickname "Demon dog of American crime fiction."[15]
Ellroy writes longhand on legal pads rather than on a computer[16] and prepares elaborate outlines for his books, most of which are several hundred pages long.[14]
Dialog and narration in Ellroy novels often consists of a "heightened pastiche of jazz slang, cop patois, creative profanity and drug vernacular" with a particular use of period-appropriate slang.[17] He often employs stripped-down staccato sentence structures, a style that reaches its apex in The Cold Six Thousand and which Ellroy describes as a "direct, shorter-rather-than-longer sentence style that's declarative and ugly and right there, punching you in the nards."[14] This signature style is not the result of a conscious experimentation but of chance and came about when he was asked by his editor to shorten his novel White Jazz from 900 pages to 350. Rather than removing any subplots, Ellroy achieved this by eliminating verbs, creating a unique style of prose.[citation needed] While each sentence on its own is simple, the cumulative effect is a dense, baroque style.[17]

Main article: L.A. Quartet
While his early novels earned him a cult following, Ellroy earned much greater success and critical acclaim with the L.A. Quartet—The Black Dahlia, The Big Nowhere, L.A. Confidential, and White Jazz.[14] The four novels represent Ellroy's change of style from the tradition of classic modernist noir fiction of his earlier novels to so-called postmodernhistoriographicmetafiction.[18] The Black Dahlia, for example, fused the real-life murder of Elizabeth Short with a fictional story of two police officers investigating the crime.[19]

In media appearances, Ellroy has adopted an outsized, stylized public persona of hard-boiled nihilism and self-reflexive subversiveness.[14] He frequently begins public appearances with a monologue such as:
Good evening peepers, prowlers, pederasts, panty-sniffers, punks and pimps. I'm James Ellroy, the demon dog, the foul owl with the death growl, the white knight of the far right, and the slick trick with the donkey dick. I'm the author of 16 books, masterpieces all; they precede all my future masterpieces. These books will leave you reamed, steamed and drycleaned, tie-dyed, swept to the side, true-blued, tattooed and bah fongooed. These are books for the whole fuckin' family, if the name of your family is Manson.[20]
Another aspect of his public persona involves an almost comically grand assessment of his work and his place in literature. For example, he told the New York Times, "I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music."[21]
Ellroy frequently has espoused conservative political views, which have ranged from a vague antiliberalism to authoritarianism.[14] In an October 15, 2009, Rolling Stone interview, Ellroy said that in the 1960s and 1970s "I was never a peacemaker; I was a fuck-you right-winger." He has also been an outspoken and unquestioning admirer of the Los Angeles Police Department, and he dismisses the department's flaws as aberrations, telling the National Review that the coverage of the Rodney King beating and Rampart police scandals were overblown by a biased media.[22] Nevertheless, like other aspects of his persona, he often deliberately obscures where his public persona ends and his actual views begin. When asked about his "right-wing tendencies," he told an interviewer, "Right-wing tendencies? I do that to fuck with people."[23] Similarly, in the film Feast of Death, his (now ex-) wife describes his politics as "bullshit," an assessment to which Ellroy responds only with a knowing smile.[9] Privately, Ellroy opposes the death penalty and favors gun control.[24] Of the current political environment, Ellroy told Rolling Stone in 2009:
I thought Bush was a slimeball and the most disastrous American president in recent times. I voted for Obama. He's a lot like Jack Kennedy—they both have big ears and infectious smiles. But Obama is a deeper guy. Kennedy was an appetite guy. He wanted pussy, hamburgers, booze. Jack did a lot of dope.[23]
Structurally, several of Ellroy's books, such as The Big Nowhere, L.A. Confidential, American Tabloid, and The Cold Six Thousand, have three disparate points of view through different characters, with chapters alternating between them. Starting with The Black Dahlia, Ellroy's novels have mostly been historical dramas about the relationship between corruption and law enforcement.[19]
A predominant theme of Ellroy's work is the myth of "closure." "Closure is bullshit," Ellroy often remarks, "and I would love to find the man who invented closure and shove a giant closure plaque up his ass."[25]
Ellroy has claimed that he is done with noir crime novels. "I write big political books now," he says. "I want to write about LA exclusively for the rest of my career. I don't know where and when."[26]

Several of Ellroy's works have been adapted to film, including Blood on the Moon (adapted as Cop), L.A. Confidential, Brown's Requiem, Killer on the Road/Silent Terror (adapted as Stay Clean), and The Black Dahlia. In each instance, screenplays based on Ellroy's work have been penned by other screenwriters.
While he has frequently been disappointed by these adaptations (such as Cop), he was very complimentary of Curtis Hanson and Brian Helgeland's screenplay for L.A. Confidential at the time of its release.[27] In succeeding years, however, his comments have been more reserved:
L.A. Confidential, the movie, is the best thing that happened to me in my career that I had absolutely nothing to do with. It was a fluke—and a wonderful one—and it is never going to happen again—a movie of that quality. Here’s my final comment on L.A. Confidential, the movie: I go to a video store in Prairie Village, Kansas. The youngsters who work there know me as the guy who wrote L.A. Confidential. They tell all the little old ladies who come in there to get their G-rated family flick. They come up to me, they say, “OOOO… you wrote L.A. Confidential.... Oh, what a wonderful, wonderful movie. I saw it four times. You don’t see storytelling like that on the screen anymore.” I smile, I say, “Yes, it’s a wonderful movie, and a salutary adaptation of my wonderful novel. But listen, granny: You love the movie. Did you go out and buy the book?” And granny invariably says, “Well, no, I didn’t.” And I say to granny, “Then what the fuck good are you to me?”[9]
Shortly after viewing three hours of unedited footage[28] for Brian De Palma's adaptation of The Black Dahlia, Ellroy wrote an essay, "Hillikers," praising De Palma and his film.[29] Ultimately, nearly an hour was removed from the final cut, and the film was a commercial and critical disappointment. Of the released film, Ellroy told the Seattle Post-Intelligencer, "Look, you’re not going to get me to say anything negative about the movie, so you might as well give up."[17] He had, however, mocked the film's director, cast, and production design before it was filmed.[30]
In 2008, Daily Variety reported that HBO, along with Tom Hanks's production company, Playtone, was developing American Tabloid and The Cold Six Thousand for either a miniseries or ongoing series.[31]
Ellroy co-wrote the original screenplay for the 2008 film Street Kings but refused to do any publicity for the finished film.[17]
In a 2009 interview, Ellroy himself stated, "All movie adaptations of my books are dead."[32

James Ellroy (nee Lee Earle Ellroy) was born in Los Angeles in 1948. His mother was a nurse and his father, when he did work, was an accountant, among other things.
When his parents divorced in 1954, his mother got custody and moved to El Monte (a low income area in L.A). His mother was murdered there in 1958.
James Ellroy's attempt to solve this still unsolved murder was the subject of his 1996 nonfiction work My Dark Places. After his mother's death, he moved in with his father.
Ellroy claims to have been turned on to crime fiction by the Hardy Boys. At the age of ten, his father bought him Jack Webb's The Badge:a history of the LAPD. He became obsessed with the book and studied it repeatedly. In this book, he discovered the story of the Black Dahlia, as well as the cops and crime figures he would later write about in the L.A. Quartet.
Ellroy went to high school in the largely Jewish city of Fairfax. As an attention-starved adolescent, he mailed Nazi pamphlets to girls he liked, criticized JFK and advocated the reinstatement of slavery.Amazingly, he claims to have received only one schoolyard beating for his anti-Semitic hijinks. He was a big fan of "The Fugitive" TV series in the early sixties and was obsessed with crime novels and movies in his late teens. When he wasn't reading crime novels, he was shoplifting food and porno magazines. At this time, his father suffered from a stroke and he reluctantly stepped into the caregiver role.
He was eventually expelled from Fairfax high school for ranting about Nazism in his English class. Soon after, he joined the army.
Realizing that he didn't belong in the army and worried about his father, he faked a stutter and convinced the army psychiatrist that he was not mentally fit for combat. After three months, he received a dishonorable discharge.
Soon after returning home to L.A., his father died in the hospital. His last words: "Try to pick up every waitress who serves you."
After his father's death, he moved into his own apartment on the money the army paid him. He landed himself in juvenile hall trying to steal a steak from a Liquor & Food Mart. When he got out, his friend's father, who Ellroy called a "right-wing crackpot" became his guardian.
When he turned eighteen, he was back on the streets again. He lived in parks and Goodwill bins. He broke into the homes of girls he liked and stole their underwear. He drank, experimented with drugs, and read hundreds of crime novels. He discovered Benzedrex, a sinus inhaler. Instead of inhaling it, he would swallow it to get a speed high.
When it got cold he would move into vacant apartments. The police caught him doing this once, and threw him in jail. When he got out of jail, he got a job at an adult book store and loaded up on magazines. The women reminded him of his mother and the Black Dahlia.
The Benzedex drove him to near schizophrenia and the alcohol was destroying his health. He suffered from pneumonia twice and developed what his doctor called "post-alcohol brain syndrome." Fearing for his sanity, he joined AA and got sober. He earned steady money as a golf caddy and began to mentally formulate a mystery plot, which would become Brown's Requiem.
At the age of thirty, he wrote and sold his first novel. James Ellroy currently lives in Kansas City.

- بعد خروجه من الجيش وعودته الى لوس انجلس مات والده
- واصبح والد صديقة مسؤول عن رعايته حوكم وسجن بسبب سرقة قطعة لحمة
- عندما بغل الثامنة عشره عاد الى الشوارع
- كان يقتحم بيوت الصبايا التي يحبهن ويسرق ملابسهن الداخليه
- كان يشر الخمر وجرب المخدرات وقرأة الاف الروايات البوليسية
- سجن لنومه في شقق فارغه غير مسكونه

طفولة كارثية ، طلاق الوالدين وهو في سن السادسة، ثم مقتل الام وهو في سن العاشرة، ثم ترك المدرسة الثانوية، ثم انضمام الى الجيش، ثم ترك الجيش بحجة انه مريض نفسيا...كآبة حادة وخلل في المشاعر بسبب قتل الام، ثم موت الاب، ثم السجن ثم التشرد ولا ننسى المخدرات والادمان على الكحول والسرقة المتكررة والسجن المتكرر.
حياة بؤش وشقاء والم لا مثيل لها الا في القصص والروايات.

96. Wise Children Angela Carter- A theatrical extravaganza by a brilliant exponent of magic realism.

Angela Carter wrote this novel after she knew she had been diagnosed with cancer. She had a small son and a husband whom she would be leaving behind and in this context, Deefholts notes, "The echoing refrain of the text -- "What a joy it is to dance and sing!" -- seems particularly potent."

Plot summary

The story begins on the 75th birthday of twin sisters, Dora and Nora Chance. By what Dora, who is also the narrator of the story, describes as a bizarre coincidence, it is also the 100th birthday of their natural father, Melchior Hazard, and his twin brother, Peregrine Hazard, who is believed to be dead. The date is similarly Shakespeare's birthday - April 23.
Dora and Nora's birthday gets off to a dramatic start when their half-brother, Tristram Hazard, who believes himself to be the nephew of the twins, arrives on their doorstep. He announces that Tiffany - his partner, and the goddaughter of the twins, is missing. Dora and Nora soon discover that Tiffany is pregnant with Tristram's baby, but he is unwilling to take on the responsibility. Once this bombshell has been dropped, it soon emerges that a body has been found, and it is believed to be Tiffany's.
Most of the novel consists of Dora's memories. As well as providing the backstory of her natural father, Melchior Hazard, her legal father, Peregrine Hazard, and her guardian, Grandma Chance, Dora describes key events of her life. These include her early theatreperformances, how she and her sister deal with being rejected by their father, as well as the time that she spent in Hollywood, producing a film version of A Midsummer Night's Dream. It also makes the reader wonder about a sexual and incestuous relationship between Peregrine and Dora as there are hints that some sexual activity took place on the Brighton trip, but Carter does not clear this mystery up.
Dora and Nora attend Melchior's 100th birthday party, where he acknowledges they are his children for the first time in their lives. The twins learn that both Peregrine and Tiffany are alive, and the true nature of their long-time enemies, Saskia and Imogen, is revealed.
The novel ends with Dora and Nora being presented with twin babies to look after - a gift from Peregrine. They realise that they "can't afford" to die for another twenty years, as they want to see the children grow up. The final line of the story is a message constantly conveyed by Carter throughout the novel: "What a joy it is to dance and sing!"

Main characters

· Dora Chance - 75 years of age, minor theatre and film star, illegitimate daughter of Melchior Hazard and "Pretty Kitty", who dies in childbirth. Believed by outsiders to be the daughter of Peregrine Hazard.
· Nora Chance - Twin sister and best friend of Dora.
· Melchior Hazard - High-profile theatre and film star, known for putting career before his family.
· Peregrine Hazard - Twin brother of Melchior, who raises Nora and Dora. Adventurer, explorer, actor. Embodies magic realism and the carnivalesque.
· Lady Atalanta Hazard (Wheelchair) - First wife of Melchior Hazard, mother of Saskia and Imogen. In her later life, she is cared for by Nora and Dora after her daughters push her down a staircase and take all her money
· Delia Delaney (Daisy Duck) - Actress, second wife of Melchior Hazard, and former lover of Peregrine Hazard. Later marries Puck from the production of 'Midsummer Night's Dream.'
· My Lady Margarine - Third wife of Melchior Hazard. Mother to Gareth and Tristram. Known as "Lady Margarine" because she stars in a margarine advert on TV.
· Grandma Chance - Guardian of Dora and Nora Chance. Peregrine suggests that Grandma Chance may have been Dora and Nora's mother, but Dora considers this unlikely. Nudist and vegetarian. She is also against picking flowers, believing it to be cruel.
· Saskia Hazard - Legal daughter of Melchior Hazard. TV chef. Cunning and ambitious. Has an ongoing relationship with Tristram, her half brother. Nemesis of Dora Chance. Assumed by Nora and Dora to be the biological daughter of Peregrine Hazard.
· Imogen Hazard - Legal daughter of Melchior Hazard, twin sister of Saskia Hazard. Plays a fish on a children's TV program.
· Tristram Hazard - Son of Melchior Hazard's third marriage. Presenter of "Lashings of Lolly." Twin brother of Gareth.
· Tiffany - Goddaughter of Dora and Nora Chance. Girlfriend of Tristram Hazard, with whom she hosts "Lashings of Lolly", a TV gameshow. Also pregnant with Tristram's baby.

Dramatis personae

Born Angela Olive Stalker in Eastbourne, in 1940,
ولدت عام 1940 وكان اسمها انجلا اولف ستولكر

Carter was evacuated as a child to live in Yorkshire with her maternal grandmother.
تم ارسالها لتعيش مع جدتها وهي طفلة صغيرة ربما بسبب الحرب العالمية الثانية ومخاطرها حيث تم استخدام كلمة ( ترحيل ) في وصف الاجراء

As a teenager she battled anorexia.
اصيبت وهي شابة بمرض فقدان الشهيه

She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature.
درست الادب الانجليزي في جامعة برستول

She married twice, first in 1960 to Paul Carter.
تزوجت مرتين الاولى لشخص اسمه بول كارتر عام 1960 وعمرها 20 سنة

They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in Nothing Sacred (1982) that she "learnt what it is to be a woman and became radicalised."
بعد طلاقها من زوجها سافرت الى اليابان وعاشت هناك عامان

She wrote about her experiences there in articles for New Society and a collection of short stories, Fireworks: Nine Profane Pieces (1974), and evidence of her experiences in Japan can also be seen in The Infernal Desire Machines of Doctor Hoffman (1972).
She then explored the United States, Asia and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia.
سافرت الى عدة بلدان مثل الولايات المتحدة واسيا واوروبا

In 1977 Carter married Mark Pearce, with whom she had one son.
As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in Shaking a Leg. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and The Magic Toyshop (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Woolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson'sHeavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003). Her novel Nights at the Circus won the 1984 James Tait Black Memorial Prize for literature.
At the time of her death, Carter had started work on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens; only a synopsis survives.
Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer.

· Shadow Dance (1966) aka Honeybuzzard
· The Magic Toyshop (1967)
· Several Perceptions (1968)
· Heroes and Villains (1969)
· Love (1971)
· The Infernal Desire Machines of Doctor Hoffman (1972) aka The War of Dreams
· The Passion of New Eve (1977)
· Nights at the Circus (1984)
· Wise Children (1991)

· Fireworks: Nine Profane Pieces (1974) aka Fireworks: Nine Stories in Various Disguises and Fireworks
· The Bloody Chamber (1979)
· The Bridegroom (1983) (Uncollected short story)
· Black Venus (1985)
· American Ghosts and Old World Wonders (1993)
· Burning Your Boats (1995)

· Five Quiet Shouters (1966)
· Unicorn (1966)

· Come Unto These Yellow Sands: Four Radio Plays (1985)
· The Curious Room: Plays, Film Scripts and an Opera (1996) (includes Carter's screenplays for adaptations of The Company of Wolves and The Magic Toyshop; also includes the contents of Come Unto These Golden Sands: Four Radio Plays)
· The Holy Family Album (1991)

· The Donkey Prince (1970) illustrated by Eros Keith
· Miss Z, the Dark Young Lady (1970) illustrated by Eros Keith
· Comic and Curious Cats (1979) illustrated by Martin Leman
· Moonshadow (1982) illustrated by Justin Todd
· Sea-Cat and Dragon King (2000) illustrated by Eva Tatcheva

· The Sadeian Woman and the Ideology of Pornography (1979)
· Nothing Sacred: Selected Writings (1982)
· Expletives Deleted: Selected Writings (1992)
· Shaking a Leg: Collected Journalism and Writing (1997)
She wrote two entries in "A Hundred Things Japanese" copyright 1975 by the Japan Culture Institute. ISBN 0870403648 It says "She has lived in Japan both from 1969 to 1971 and also during 1974" (p 202).

· Wayward Girls and Wicked Women: An Anthology of Subversive Stories (1986)
· The Virago Book of Fairy Tales (1990) aka The Old Wives' Fairy Tale Book
· The Second Virago Book of Fairy Tales (1992) aka Strange Things Still Sometimes Happen: Fairy Tales From Around the World (1993)
· Angela Carter's Book of Fairy Tales (2005) (collects the two Virago Books above)

· The Fairy Tales of Charles Perrault (1977)
· Sleeping Beauty and Other Favourite Fairy Tales (1982) (Perrault stories and two Madame Leprince de Beaumont stories)

· Company of Wolves (1984) adapted by Carter with Neil Jordan from her short story of the same name, "Wolf-Alice" and "The Werewolf"
· The Magic Toyshop (1987) adapted by Carter from her novel of the same name

· Vampirella (1976) written by Carter and directed by Glyn Dearman for BBC. Formed the basis for the short story "The Lady of the House of Love".
· Come Unto These Yellow Sands (1979)
· The Company of Wolves (1980) adapted by Carter from her short story of the same name, "Wolf-Alice" and "The Werewolf", and directed by Glyn Dearman for BBC
· Puss-in-Boots (1982) adapted by Carter from her short story and directed by Glyn Dearman for BBC
· A Self-Made Man (1984)

English short story writer, novelist, journalist, dramatist and critic. Carter was a notable exponent of magic realism, adding into it Gothic themes, postmodernist eclecticism, violence, and eroticism. Throughout her career, Carter utilized the language and characteristic motifs of the fantasy genre. "A good writer can make you believe time stands still," she once said. Her work represents a successful combination of post-modern literary theories and feminist politics. Carter died in 1992 at the age of fifty-one.
"-Then the city vanished; it ceased, almost immediately, to be a magic and appalling place. I woke up one morning and found it had become a home. Though I still turn up my coat collar in a lonely way and am always looking at myself in mirrors, they're only habits and give no clue at all to my character, whatever that is.
--The most difficult performance in the world is acting naturally, isn't it? Everything else is artful." (from 'Flesh and the Mirror' in Fireworks, 1974)
Angela Olive Stalker was born in Eastbourne, Sussex, to Olive (Farthing) Stalker and Hugh Alexander Stalker, a journalist.
During the war years, she was removed by her grandmother to South Yorkshire.
After rejoining her mother she suffered from anorexia.
However, Carter has described her childhood as carefree: "life passed at a languorous pace, everything was gently untidy, and none of the clocks ever told the right time".
At the age of 20 she married Paul Carter, and moved with him to Bristol.
Before starting her English studies at the University of Bristol, Carter worked for the Croydon Advertiser and wrote features and record reviews. After graduating, she began her literary career.
Carter's first novel, SHADOW DANCE (1966), was a kind of detective story, written during a summer vacation. THE MAGIC TOYSHOP (1967) developed further the themes of sexual fantasy and revealed Carter's fascination with fairy tales and the Freudian unconscious.
It tells a modern myth of an orphaned girl and the horrors she experiences, when she goes to live with her uncle and grows through a rite of passage into adulthood.
روايتها الثانية تحكي قصة طفلة يتيمة والرعب الذي تختبره عندما تذهب لتعيش مع عمها وربما ان هذه التجربة هو ما حصل معها شخصيا حتى ولو كان ذلك الشعور ناتج عن البعد عن العائلة بعد ان تم ارسالها لتعيش مع جدتها بسبب الحرب
The book won the Jon Llwellyn Rhys Prize in 1967. For SEVERAL PERCEPTIONS (1968) Carter received the Somerset Maugham Award. THE INFERNAL DESIRE MACHINES OF DOCTOR HOFFMAN (1973) was a story of a war fought against a diabolic doctor, whose aim is to demolish the structures of reason with his gigantic generators. "I can date to that time and to that sense of heightened awareness of the society around me in the summer of 1968, my own questioning of the nature of my reality as a woman. How that social fiction of my "femininity" was created, by means outside my control, and palmed off on me as the real thing."
In 1970, having separated from her husband, Carter went to live in Japan for two years. During this period she worked at many different jobs, among others as a bar hostess. The experience of a different culture had a strong influence on her work. In 1979 Carter published THE SADETAN WOMAN, where she questioned culturally accepted views of sexuality, and sadistic and masochistic relations between men and women. Surprising some of her readers, Carter defended the Marquis de Sade's images of women. After this novel Carter's fiction was described by some less enthusiastic critics as "entertainment for boys and girls who like their De Sade mixed with Suchard chocolate."
In the late 1980s Carter's writings occupied a central position within debates about feminist pluralism and post-modernism. In her novels Carter dramatized how the old orders of the Western world were breaking down. "I am the pure product of an advanced, industrialized, post-imperialist country in decline,'' she wrote. Her interest in changing gender roles formed the basis for novels HEROES AND VILLAINS (1969), set in the post-holocaust world, and THE PASSIONS OF NEW EVE (1977). The protagonist, Evelyn, comes to a futuristic New York, the City of Dreadful Night, where Leilah performs a dance of chaos for him. Evelyn finds his promised job extinguished. He undergoes deranging adventures and is captured in the desert by a cold-blooded female scientist, who calls herself Mother and has assembled in her person various attributes of the goddess. She intends to rape Evelyn, change his sex, and impregnate him with his own seed, so that he may give birth to an ambivalent new messiah. In the end, Eve, having transcended the various impersonations s/he has passed through metamorphosis, takes ship westward, en route maybe to Eden. In Heroes and Villains professors and scientist live in guarded cities. Outside live tribes of Barbarians. Marianne escapes from the city to the wilds and is adopted by a Barbarian tribe.
Concern with sexual politics was central to Carter's burlesque-picaresque novel NIGHTS AT THE CIRCUS (1984), which first begins in a gaslight-romance version of London, moves for a period to Siberia, and returns home. Fevvers, the heroine, is not like other people, she has wings, but her freedom to fly is limited on the stage. In this work the dystopia of The Passions of New Eve is replaced by humor and re-creation of the 19th-century bourgeois novel. Her other works include translations of Charles Perrault's fairy tales (1979), BLOODY CHAMBER (1979), a collection of stories retelling classic fairy tales, and an anthology of subversive stories by women. Samples of her journalism are collected in NOTHING SACRED (1982) and EXPLETIVES DELETED (1992). Carter's screenplay for THE COMPANY OF WOLVES (1984), based on THE BLOODY CHAMBER (1979) was a bloodthirsty, Freudian retelling of the 'Little Red Riding Hood' story, directed by Neil Jordan. This visually groundbreaking film studied the wolf-girl relationship in the light of sexual awakening. Re-writing fairy-tales from a feminist point of view, Carter argued that one can find from both literature and folklore "the old lies on which new lies are based." However, her critics saw that using the old form, Carter produced the "rigidly sexist psychology of the erotic".
BLACK VENUS (1985) featured Carter's fictionalization of historical characters, such as Lizzie Borden and Baudelaire's syphilitic mistress. In 1987 Carter was called in New Socialist the "high-priestess of post-graduate porn." WISE CHILDREN (1991), her last novel, which focused on the female members of a theatrical family, was was marked by optimism and humor. Dora and Nora Chance, the "wise children" of the title, are twins, illegitimate daughters of an famous Shakespearean actor. The story is narrated by Dora Chance, already an old dame:. "Sometimes I think, if I look hard enough, I can see back into the past. There goes the wind, again. Crash. Over goes the dustbin, all the trash spills out... empty cat-food cans, cornflakes packets, laddered tights, tea leaves... I am at present working on my memoirs and researching family history - see the word processor, the filing cabinet, the card indexes, right hand, left hand, right side, left side, all the dirt on everybody. What a wind!" Full of references to Shakespeare's plays, the characters of the novel have similarities with Shakespearean characters and scenes, but Carter also challenges the reader's narrative expectations.
Carter taught, and was writer-in-residence at universities in America and Australia, and spent two years in Japan, writing essays for New Society. For 20 years she was a major contributor to the magazine, the current affairs and culture weekly, which is now part of the New Statesman. Durin the period 1976-78, Carter served as Arts Council fellow at Sheffield University, England. She was also a visiting professor of creative writing at Brown University, Rhode Island, USA, taught in Australia and at East Anglia University, UK, and held writing residences at Austin, Texas; Iowa City, Iowa, and Albaby, New York State in America. She died of cancer on February 16, 1992, in London. "English literature has lost its high sorceress, its benevolent witch queen," wrote Salman Rushdie. BURNING YOUR BOATS, a collection of the author's short stories, appeared in 1996 with an introduction by Rushdie. Her journalism was collected under the title SHAKING A LEG (1998). Carter often wrote as if she was a fearless tourist examining oddities of the Western culture, and asked such unfeigned questions as ''why is a nice girl like Simone [Beauvoir] wasting her time sucking up to . . . boring old . . . J.-P.? [Jean-Paul Sartre].'' Merja Makinen has called Carter in her essay 'Angela Carter's The Bloody Chamber and the Decolonisation of Feminine Sexuality' the "avant-garde literary terrorist of feminism." (see Angela Carter, ed. by Alison Easton, 2000) "The amazing thing about her, for me, was that someone who looked so much like the Fairy Godmother... should actually be so much like the Fairy Godmother," wrote Margaret Atwood of Carter in the Observer.
she was diagnosed with lung cancer in the year 1991, the same year she published her novel Wise Children, and passed away the year after at the age of 52. She was named one of the most examined of English writers fifteen years after her premature death.
ماتت عام 1991 بسبب سرطان الرئة

97. Atonement Ian McEwan - Acclaimed short-story writer achieves a contemporary classic of mesmerising narrative conviction.
Atonement is a 2001 novel by British author Ian McEwan.
On a fateful day, a young girl (who aspires to be a writer) makes a terrible mistake that has life-changing effects for many people. Consequently, she lives seeking atonement—which leads to an exploration on the nature of writing.
It is widely regarded as one of McEwan's best works and was one of the most celebrated and honoured books of its time]. It was shortlisted for the 2001 Booker Prize for fiction. TIME Magazine named Atonement in its list All-TIME 100 Greatest Novels. In 2007, the book was adapted into a BAFTA and Academy Award nominated film, starring James McAvoy and Keira Knightley, and directed by Joe Wright.

In the summer of 1935, Briony Tallis, an English girl with a talent for writing, lives at her family's country estate with her older sister Cecilia, and their cousins, twins Jackson and Pierrot, and Lola. One day, Briony sees a moment of sexual tension between Cecilia and Robbie Turner, the son of the Tallis family housekeeper and a childhood friend of Cecilia's. Robbie realizes he is attracted to Cecilia, whom he has not seen in some time, and writes several drafts of a love letter to her, giving a copy to Briony to deliver. By accident he gives her a version he had meant to discard, which contains lewd and vulgar references ("Cunt"). Briony reads the letter and becomes disturbed as to Robbie's intentions. Later she walks in on Robbie and Cecilia making love in the library. Briony misinterprets the sexual act as rape and believes Robbie to be a "sex maniac."
Later on at a family dinner party attended by Briony's brother Leon and his friend Paul Marshall, it is discovered that the twins have run away and the dinner party breaks into teams to search for them. In the darkness, Briony discovers her cousin Lola, apparently being raped by an assailant she cannot clearly see. Lola is unable or unwilling to identify the attacker, but Briony decides to accuse Robbie and identifies him to the police as the rapist. Robbie is taken away to prison, with only Cecilia and his mother believing his protestations of innocence.

By the time World War II has started, Robbie has spent 2–3 years in prison. He is then released on the condition of enlistment in the army to fight in war. Cecilia has studied and become a nurse. She cuts off all contact with her family because of the part they took in sending Robbie to jail. Robbie and Cecilia have only been in contact by letter, since she was not allowed to visit him in prison. Before Robbie has to go to war in France, they meet once for half an hour during Cecilia's lunch break. Their reunion starts awkwardly, but they share a kiss before leaving each other.
In France, the war is going badly and the army is retreating to Dunkirk. As the injured Robbie goes to the safe haven, he thinks about Cecilia and past events like teaching Briony how to swim and reflecting on Briony's possible reasons for accusing him. His single meeting with Cecilia is the memory that keeps him walking, his only aim is seeing her again. At the end of part two, Robbie falls asleep in Dunkirk, one day before the evacuation.

Remorseful Briony has refused her place at Cambridge and instead is a trainee nurse in London. She has realized the full extent of her mistake, and realizes it was Paul Marshall, Leon's friend, whom she saw raping Lola. Briony still writes, although she does not pursue it with the same recklessness as she did as a child.
Briony is called to the bedside of Luc, a young, fatally wounded French soldier. She consoles him in his last moments by speaking with him in her school French, and he mistakes her for an English girl whom his mother wanted him to marry. Just before his death, Luc asks "Do you love me?", to which Briony answers "Yes," not only because "no other answer was possible" but also because "for the moment, she did. He was a lovely boy far away from his family and about to die." Afterward, Briony daydreams about the life she might have had if she had married Luc and gone to live with him and his family.
Briony attends the wedding of her cousin Lola and Paul Marshall before finally visiting Cecilia. Robbie is on leave from the army and Briony meets him unexpectedly at her sister's. They both refuse to forgive Briony, who nonetheless tells them she will try and put things right. She promises to begin the legal procedures needed to exonerate Robbie, even though Paul Marshall will never be held responsible for his crime because of his marriage to Lola, the victim.

The fourth section, titled "London 1999", is written from Briony's perspective. She is a successful novelist at the age of 77 and dying of vascular dementia.
It is revealed that Briony is the author of the preceding sections of the novel. Although Cecilia and Robbie are reunited in Briony's novel, they were not in reality. It is suggested that Robbie Turner may have died of septicaemia, caused by his injury, on the beaches of Dunkirk and Cecilia may have been killed by the bomb that destroyed the gas and water mains above Balham Underground station. Cecilia and Robbie may have never seen each other again. Although the detail concerning Lola's marriage to Paul Marshall is true, Briony never visited Cecilia to make amends.
Briony explains why she decided to change real events and unite Cecilia and Robbie in her novel, although it was not her intention in her many previous drafts. She did not see what purpose it would serve if she gave the readers a pitiless ending. She reasons that they could not draw any sense of hope or satisfaction from it. But above all, she wanted to give Robbie and Cecilia their happiness by being together. Since they could not have the time together they so much longed for in reality, Briony wanted to give it to them at least in her novel.

· Briony Tallis – The younger sister of Leon and Cecilia, Briony is an aspiring writer. She is a thirteen-year-old at the beginning of the novel and takes part in sending Robbie Turner to jail when she claims that Robbie assaulted Lola. Briony is part narrator, part character and we see her transformation from child to woman as the novel progresses. At the end of the novel, Briony has realized her wrong-doing as a "child" and decides to write the novel to find atonement.
· Cecilia Tallis – The middle child in the Tallis family, Cecilia has fallen in love with her childhood companion, Robbie Turner. After a tense encounter by the fountain, Robbie and she don't speak again until they meet before a formal dinner. Upset over the loss of her love, to jail and war, she has almost no contact with her family again.
· Leon Tallis – The eldest child in the Tallis family, Leon returns home to visit. He brings his friend Paul Marshall along with him on his trip home.
· Emily Tallis – Emily is the mother of Briony, Cecilia, and Leon. Emily is ill in bed for most of the novel, suffering from severe migraines.
· Jack Tallis – Jack is the father of Briony, Cecilia, and Leon. Jack often works late nights and it is alluded to in the novel that he is having an affair.
· Robbie Turner – Robbie is the son of Grace Turner, who lives on the grounds of the Tallis home. Having grown up with Leon, Briony and Cecilia, he knows the family well. He attended Cambridge University with Cecilia and when they come home on break, they fall in love.
· Grace Turner – The mother of Robbie Turner, she was given permission from Jack Tallis to live on the grounds. She has become the family's maid and does laundry for the Tallises. After the conviction of her son for a crime she doesn't believe he committed, she leaves the Tallis family.
· Lola Quincey – Lola is a 15-year-old girl who is Briony, Cecilia, and Leon's cousin. She comes, along with her brothers, to stay with the Tallises after her parents' divorce. She is red-headed and fair-skinned with freckles.
· Jackson Quincey – Jackson is a young boy (Pierrot's twin) who is Briony, Cecilia, and Leon's cousin. He comes, along with his sister and his twin, to stay with the Tallises after his parents' divorce.
· Pierrot Quincey – Pierrot is a young boy (Jackson's twin) who is Briony, Cecilia, and Leon's cousin. He comes, along with his sister and his twin, to stay with the Tallises after his parents' divorce.
· Danny Hardman – The handyman for the Tallis family.
· Paul Marshall – A friend of Leon's, who rapes Lola and, some years later, marries her.
· Corporal Nettle – Nettle is Robbie's companion during the Dunkirk evacuation.
· Corporal Mace – Mace is Robbie's companion during the Dunkirk evacuation.
· Betty – The Tallis family's servant, described as "wretched" in personality.

· Atonement
"I gave them happiness, but I was not so self-serving as to let them forgive me," Briony says at the end of the novel. Briony recognizes her sin (i.e., wrongfully accusing Robbie and ruining his and Cecilia's chances of a life together) and attempts to atone for it through writing her novel. She does not grant herself forgiveness. Rather, she attempts to earn atonement through giving Robbie and Cecilia a life together in her writing.
· Book/Author Relationship
McEwan reiterates the comparison between himself, a writer in reality, and Briony, a writer of fiction in his story. Throughout the novel, McEwan compares himself, an author of literary fiction, to Briony and both her literary fiction and real-life fiction. This comparison draws a relationship between the life of the author and the life of Briony in the story.
· Truth versus Imagination
Throughout the novel, Briony constructs her own world due to immaturity and misunderstanding, both in her literature and in her mind. Briony's fabricated reality is often positive and optimistic, such as the inclusion of Robbie and Cecilia meeting at the end of her story. However, her false reality initiated the plot of the story, as she lied about the rape of Lola.
· Peace
The motif of peace is shown through the stillness and calm the characters experience at the Tallis Estate at the beginning of the novel. The estate is portrayed as being an isolated and calm environment in a world of chaos and confusion where most characters seem to enjoy being separated from the chaos of society. However, Cecilia states her discontentment with the solitary and calm atmosphere at the estate, as she wants to move on to more exciting and worthwhile things in her life.
· Death
Throughout the second half of the novel, the motif of death contrasts the motif of life shown in the beginning of the novel. The motif of death occurs mostly while Briony is working in the hospital, as she encounters the death of many soldiers and bystanders from the war.
Death is also portrayed during the war, when Robbie is participating in the retreat. Robbie witnesses the death of many soldiers and innocent bystanders, and many bystanders experience the death of others around themselves.

Ian Russell McEwan CBE, FRSA, FRSL (born 21 June 1948) is a British novelist and screenwriter, and one of Britain's most highly regarded writers. In 2008, The Times named him among their list of "The 50 greatest British writers since 1945".
روائي بريطاني ولد عام 1948
McEwan began his career writing sparse, Gothic short stories. The Cement Garden (1978) and The Comfort of Strangers (1981) were his first two novels, and earned him the nickname "Ian Macabre". These were followed by three novels of some success in the 1980s and early 1990s. In 1997, he published Enduring Love, which was made into a film. He won the Man Booker Prize with Amsterdam (1998). In 2011, he was awarded the Jerusalem Prize. In 2001, he published Atonement, which was made into an Oscar-winning film. This was followed by Saturday (2003), On Chesil Beach (2007) and Solar (2010).

Early life

McEwan was born in Aldershot, Hampshire, on 21 June 1948, the son of David McEwan and Rose Lilian Violet (née Moore).
He spent much of his childhood in East Asia (including Singapore), Germany and North Africa (including Libya), where his father, a Scottish army officer, was posted.
قضى معظم طفولته في شرق اسيا بما في ذلك سنغافوره والمانيا وشمال افريقيا بما في ذلك ليبيا حيث كان والده يعمل كضابط في الجيش
His family returned to England when he was twelve.
عادت العائلة الى انجلترا عندما كان في الثانية عشرة
He was educated at Woolverstone Hall School; the University of Sussex, receiving his degree in English literature in 1970; and the University of East Anglia, where he was one of the first graduates of Malcolm Bradbury's pioneering creative writing course.

Career

McEwan's first published work was a collection of short stories, First Love, Last Rites (1975), which won the Somerset Maugham Award in 1976. He achieved notoriety in 1979 when the BBC suspended production of his play Solid Geometry because of its supposed obscenity.[2] His second collection of short stories, In Between the Sheets, was published in 1978. The Cement Garden (1978) and The Comfort of Strangers (1981) were his two earliest novels, both of which were adapted into films. The nature of these works caused him to be nicknamed "Ian Macabre".[3] These were followed by The Child in Time (1987), winner of the 1987 Whitbread Novel Award; The Innocent (1990); and Black Dogs (1992). McEwan has also written two children's books, Rose Blanche (1985) The Daydreamer (1994).
His 1997 novel, Enduring Love, about the relationship between a science writer and a stalker, was popular with critics, although it was not shortlisted for the Booker Prize.[4][5] It was adapted into a film in 2004. In 1998, he won the Man Booker Prize for Amsterdam.[6] His next novel, Atonement (2001), received considerable acclaim; Time magazine named it the best novel of 2002, and it was shortlisted for the Booker Prize.[7] In 2007, the critically acclaimed movie Atonement, directed by Joe Wright and starring Keira Knightley and James McAvoy, was released in cinemas worldwide. His next work, Saturday (2003), follows an especially eventful day in the life of a successful neurosurgeon. Saturday won the James Tait Black Memorial Prize for 2005, and his novel On Chesil Beach (2007) was shortlisted for the 2007 Booker Prize. McEwan has also written a number of produced screenplays, a stage play, children's fiction, an oratorio and a libretto titled For You with music composed by Michael Berkeley.
Solar, was published by Jonathan Cape and Doubleday in March 2010.[8] In June 2008 at the Hay Festival, McEwan gave a surprise reading of this work-in-progress. The novel concerns "a scientist who hopes to save the planet."[9] from the threat of climate change, with inspiration for the novel coming from a trip McEwan made in 2005 "when he was part of an expedition of artists and scientists who spent several weeks aboard a ship near the north pole to discuss environmental concerns". McEwan noted "The novel's protagonist Michael Beard has been awarded a Nobel prize for his pioneering work on physics, and has discovered that winning the coveted prize has interfered with his work".[9] He said that the work was not a comedy: "I hate comic novels; it's like being wrestled to the ground and being tickled, being forced to laugh",[9] instead, that it had extended comic stretches. McEwan is working on his twelfth novel, historical in nature and set in the 1970s.[10]
In 2006 he was accused of plagiarism; specifically that a passage in Atonement (2001) closely echoed a passage from a memoir, No Time for Romance, published in 1977 by Lucilla Andrews. McEwan acknowledged using the book as a source for his work.[11][12] McEwan had included a brief note at the end of Atonement, referring to Andrews’s autobiography, among several other works.[13] Writing in The Guardian in November 2006, a month after Andrews' death, McEwan professed innocence of plagiarism while acknowledging his debt to the author.[14][15][16] Several authors defended him, including John Updike, Martin Amis, Margaret Atwood, Thomas Keneally, Zadie Smith, and Thomas Pynchon.[17][18][19]

Awards and honours

McEwan has been nominated for the Man Booker prize six times to date, winning the Prize for Amsterdam in 1998. His other nominations were for The Comfort of Strangers (1981, Shortlisted), Black Dogs (1992, Shortlisted), Atonement (2001, Shortlisted), Saturday (2005, Longlisted), and On Chesil Beach (2007, Shortlisted). McEwan also received nominations for the Man Booker International Prize in 2005 and 2007.[20]
He is a Fellow of the Royal Society of Literature, a Fellow of the Royal Society of Arts, and a Fellow of the American Academy of Arts and Sciences. He was awarded the Shakespeare Prize by the Alfred Toepfer Foundation, Hamburg, in 1999. He is also a Distinguished Supporter of the British Humanist Association. He was awarded a CBE in 2000.[21] In 2005, he was the first recipient of Dickinson College's prestigious Harold and Ethel L. Stellfox Visiting Scholar and Writers Program Award,[22] in Carlisle, Pennsylvania. In 2008, McEwan was awarded the honorary degree of Doctor of Literature by University College, London, where he used to teach English literature. In 2008, The Times named McEwan among their list of "The 50 greatest British writers since 1945".[23]
In 2010, McEwan received the Peggy V. Helmerich Distinguished Author Award. The Helmerich Award is presented annually by the Tulsa Library Trust.
On 20 February 2011, he was awarded the Jerusalem Prize for the Freedom of the Individual in Society.[24] He accepted the prize, despite controversy[25] and pressure from groups and individuals opposed to the Israeli government.[26][27] McEwan responded to his critics, and specifically the group British Writers in Support of Palestine (BWISP), in a letter to The Guardian, stating in part, "There are ways in which art can have a longer reach than politics, and for me the emblem in this respect is Daniel Barenboim's West-Eastern Divan Orchestra – surely a beam of hope in a dark landscape, though denigrated by the Israeli religious right and Hamas. If BWISP is against this particular project, then clearly we have nothing more to say to each other."[28] McEwan's acceptance speech discussed the complaints against him and provided further insight into his reasons for accepting the award.[29] He also said he will donate the amount of the prize, "ten thousand dollars to Combatants for Peace, an organisation that brings together Israeli ex-soldiers and Palestinian ex-fighters."[29]

Personal life

He has been married twice.
تزوج مرتين
His second wife, Annalena McAfee, was formerly the editor of The Guardian's Review section. In 1999, his first wife, Penny Allen, took their 13-year-old son to France after a court in Brittany ruled that the boy should be returned to his father, who had been granted sole custody over him and his 15-year-old brother.[30]
In 2002, McEwan discovered that he had a brother who had been given up for adoption during World War II; the story became public in 2007.[31] The brother, a bricklayer named David Sharp, was born six years earlier than McEwan, when his mother was married to a different man. Sharp has the same parents as McEwan but was born from an affair between them that occurred before their marriage. After her first husband was killed in combat, McEwan's mother married her lover, and Ian was born a few years later.[32] The brothers are in regular contact, and McEwan has written a foreword to Sharp's memoir.

Born on 21 June 1948 in Aldershot, Kent, the son of David McEwan, a career soldier, and Rose Moore McEwan, Ian Russell McEwan spent part of his childhood in Singapore and North Africa, where his father was posted. His siblings were considerably older, and he describes himself as "psychologically, an only child." Returned to England for schooling, he attended Woolverstone Hall in Suffolk, then the University of Sussex (B.A.
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his third novel, The Child in Time (1987), which is warmer, broader, and considerably more committed than his previous fiction, dealing as it does with politics and parenthood, loss and desire.

Read more: Ian ), (Ian Russell McEwan), First McEwan (Ian Russell McEwan) Biography - (1948– Love, Last Rites, In Between the Sheets, The Cement Garden - JRank Articleshttp://www.jrank.org/literature/pages/4874/Ian-McEwan-(Ian-Russell-McEwan).html#ixzz1hONTFWbo
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Ian McEwan (1786 words)


Born on June 21 1948, Ian Russell McEwan grew up in Aldershot, as well as at military stations in countries such as Singapore and Libya. His mother had two much older children from an earlier marriage, but McEwan always considered himself very much “an only child” right up to the point in 2007 when a long-lost brother was suddenly made known to him. The new sibling, David, was the product of an affair McEwan's mother had had with his father during the war, before they were married.
After an army childhood largely spent abroad, McEwan attended Woolverstone state boarding-school in Suffolk from 1959 to 1966. Subsequently he read English and French at the University of Sussex before enrolling for the modern fiction and creative ...
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Ian Russell McEwan (muhk-YEW-uhn) was born on June 21, 1948, in the military town of Aldershot (southern England), to Rose Lillian Violet (Moore) McEwan and David McEwan. His mother was a war widow with two children; his father, later to become a major, had joined the army in face of the bleak employment situation in Glasgow. As a soldier’s son, Ian spent a significant part of his early childhood at military outposts in Singapore and Libya. In an interview with Ian Hamilton, he remembered life in Africa with “very open air, a great deal of running free, swimming, exploring the coast....

والان ما سر الروعة في رواية :

98 ـ أنوار الشمال، للمؤلف فيليب بولمان

The original title The Golden Compasses comes from a line in Milton'sParadise Lost,[1] where they denote God's circle-drawing instrument used to establish and set the bounds of all creation:
Then staid the fervid wheels, and in his hand
He took the golden compasses, prepared
In God's eternal store, to circumscribe
This universe, and all created things:
One foot he centered, and the other turned
Round through the vast profundity obscure
— Book 7, lines 224–229
For some time during pre-publication, the series of novels were known as The Golden Compasses. This is a reference to God's poetic delineation of the world, and not (as often believed) a reference to the navigational compass which the main character's "alethiometer" resembles
Pullman eventually settled on Northern Lights as the title for the first book, and The Golden Compasses as the name for the trilogy.
In the United States, in their discussions over the publication of the first book, the publishers Alfred A. Knopf had been calling it The Golden Compass (omitting the plural), which they mistakenly believed referred to Lyra's alethiometer, because the device superficially resembles a navigational compass. Meanwhile, in the UK, Pullman had replaced The Golden Compasses with His Dark Materials as the title of the trilogy. According to Pullman, the publishers had become so attached to The Golden Compass that they insisted on publishing the U.S. edition of the first book under that title, rather than as Northern Lights, the title used in the UK and Australia.[1]

The story takes place in a parallel universe to ours, controlled in part by the Magisterium, a body of the Church in that world which guards against heresy. Lyra Belacqua— an 11-year-old girl who has been allowed to run somewhat wild – awaits the arrival of her uncle and guardian at Jordan College, Oxford, the explorer Lord Asriel. Hiding in the forbidden 'Retiring Room', she and her dæmon, Pantalaimon (shortened to "Pan", an animal-formed, shape-shifting manifestation of her soul) see the college Master attempt to poison Lord Asriel's wine. She prevents him drinking, and Asriel, though angry at her trespass, allows her to stay hidden during the upcoming meeting where he presents his latest findings. He has identified mysterious particles ("Dust") descending from the Aurora Borealis (the 'Northern Lights' of the title) which appear to reveal another universe and to be strangely attracted to conscious life. He is awarded funds to develop a way to travel to these other worlds; the Magisterium seeks to end his research -forcefully- as heresy.
Her friend Roger is kidnapped by Gobblers, a recent urban legend, and Lyra vows to rescue him. Instead an important visitor, a woman named Mrs. Marisa Coulter offers to take Lyra away from Jordan College to become her assistant. As she leaves, she is entrusted secretly by the Master of the college with a priceless rare object known as an alethiometer, a "truth teller" which resembles a golden, many-handed pocket-watch that can answer any question asked by a skilled user. Although unable to read or understand its complex symbols, Lyra takes it with her.
Lyra discovers that Mrs. Coulter heads an organization known as the 'General Oblation Board' and that this board is in fact, the 'Gobblers' who have been kidnapping children. Horrified, Lyra flees and is rescued by the Gyptians (nomadic, canal-boat-dwelling people) who reveal that Lord Asriel and Mrs. Coulter are Lyra's father and mother. She also learns that many children have been disappearing and the Gyptians are planning an expedition to the north to rescue them. Lyra begins to intuitively learn how to operate the alethiometer.
On a stop in Trollesund, Lyra meets Iorek Byrnison, an outcastsapientprince of the armoured bears ("panserbjørn"). His armor, tricked from him by the villagers, is akin to his soul, and without it Iorek is bound in servitude to the village. Lyra uses her alethiometer to locate the armor, allowing Iorek to free himself. Both he and a travelling balloonist, Lee Scoresby, offer their support to Lyra. She also learns that Lord Asriel is held prisoner by the Panserbjørn. A local Witch-Consul states there is a prophecy about Lyra's destiny, which she must not know, and it is also learned that witch-clans are choosing their allegiances in an upcoming war.
The Gyptians and Lyra continue north to Bolvangar, where they believe the Gobblers keep the children. Lyra stops at a village on the way and guided by the alethiometer, finds a boy who had been severed from his dæmon. Lyra realizes that the Gobblers are attempting to sever the bond between human and dæmon (the process being called "intercision"), a horrific action in that world, and the boy dies. She is captured by bounty hunters and taken to Bolvangar, where she locates Roger and devises an escape plan. Mrs. Coulter arrives, evidently supervising the facility, and Lyra is caught spying by staff. The staff decide to silence her using the same process; she is rescued by Mrs. Coulter who is shocked to see her as an intercision subject. Mrs. Coulter tries to take the alethiometer from her but the container contains an insect-like device that renders her unconscious. Lyra escapes, leads the other children from the facility, and is rescued by Lee Scoresby, Iorek, the Gyptians, and their allies, the witch-clan of Serafina Pekkala.
Lyra is determined to deliver the alethiometer to Lord Asriel, believing that he needs it for his purposes. She tricks the usurping bear-king Iofur Raknison into fighting Iorek Byrnison, by claiming that she was Iorek's dæmon, and that if Iofur killed Iorek, then she would become Iofur's dæmon – something no bear has and Iofur wants. Iorek is victorious and regains his throne. Lyra - nicknamed "Lyra Silvertongue" by Iorek as a token of her ability - travels onward to Lord Asriel’s cabin, accompanied by Iorek and Roger.
Despite being imprisoned, Lord Asriel has become so influential that he has accumulated the necessary equipment to continue his experiments on Dust. He explains to Lyra what he knows of Dust, the Church's view that it is deeply sinful, his belief that Dust is somehow related to the source of all death and misery, the existence of parallel universes, and his goal - to visit the other universes, find the source of death and misery, and destroy it, bringing the end of "centuries of darkness", which the Church fears "with good reason". As Lyra sleeps, he departs, taking Roger and much scientific equipment. Lyra pursues them, having discovered that she has indeed brought her father what he wanted, though not in the way she thought. It was not the alethiometer he needed, but Roger: the severing of the child's dæmon will releases an "enormous" amount of energy, which Lord Asriel needs to complete his task. Roger dies when Lord Asriel separates him from his dæmon, and Lord Asriel is able to tear a hole through the sky into a parallel universe. Lord Asriel offers to bring Mrs. Coulter, who had come by means of her zeppelin, with him, but she declines. Lord Asriel walks through into the new universe alone. Devastated at her part in rescuing Roger only to bring him to his death, Pan and Lyra follow.
This concludes the first novel, with the trilogy continuing in the next book, The Subtle Knife.

· Lyra Belacqua and Pantalaimon: The principal characters. Lyra is described as having blue eyes and blond hair, along with being short for her age and quite thin but is still quite attractive. Though young and attractive she is brave, curious, and crafty. Her dæmon is Pantalaimon, nicknamed Pan. Because she is still a child, Pan is capable of changing into any shape he wishes, through he frequently appears as a brown moth, a wildcat, a white ermine, and a mouse. Lyra has been prophesied by the witches to help the balance of life, but must do so without being aware of her destiny.
· Roger Parslow: One of Lyra's friends, a boy whose family works at Jordan College. When he is kidnapped and taken north, Lyra pursues him in hopes of rescuing him. He is killed at the end of Northern Lights by Lord Asriel.
· Lord Asriel: Lyra's uncle, though it is later revealed that he is actually her father. He performs experiments in the north on the Dust, which are considered threatening for the Magisterium as they are part of Asriel's fight against the Authority. His dæmon is Stelmaria, a snow leopard.
· Mrs. Marisa Coulter: An agent of the Magisterium, who does not hesitate to manipulate the Church to obtain funds for her projects. She is intelligent and beautiful, but extremely ruthless and callous. She is revealed to be Lyra's mother; as a result, she is unexpectedly kind to Lyra. Her dæmon is a golden monkey.
· Iorek Byrnison: A panserbjørn (a race of armored white bears living in the far North and capable of human speech), first encountered in servitude having been tricked out of his armor, which Lyra helps him recover. He becomes very protective of Lyra and joins the expedition to find the children seized by Gobblers. After Lyra successfully tricks usurper Iofur Raknison into submitting to Iorek, Iorek gives her the name "Lyra Silvertongue."
· Iofur Raknison: A panserbjørn who wants a dæmon and has usurped Iorek's authority as king. Lyra tricks him into fighting the exiled Iorek Byrnison by pretending to be Iorek's dæmon, and promising that when Iofur wins the fight, she will become his.
· Serafina Pekkala: A witch who closely follows Lyra on her travels. She is aware of Lyra's destiny. Serafina's dæmon is Kaisa, a snow goose, who is capable of physically moving separately from Serafina over long distances, a quality that only witches' dæmons appear to possess.
· Lee Scoresby: A Texan aeronaut who transports Lyra in his balloon. He and Iorek Byrnison are good friends and Lee comes to see Lyra as a surrogate daughter. His dæmon is Hester, an arctic snow hare.

Northern Lights (The Golden Compass in America) was highly acclaimed and won prestigious book awards, putting Pullman on the literary map. It won the Carnegie Medal and the Guardian Fiction Prize in England, and was named a Horn Book Fanfare Honor Book, a Bulletin Blue Ribbon Book, Publishers Weekly Book of the Year, and Booklist Editors Choice - Top of the List.
See also: Religious perspective of Pullman's trilogy
Some critics have asserted that the trilogy and movie adaptation present a negative portrayal of the Church and religion,[2][3][dead link] while others have argued that Pullman's works should be included in religious education courses.[4] Peter Hitchens views the His Dark Materials series as a direct rebuttal of C. S. Lewis's Chronicles of Narnia series.[5] Literary critic Alan Jacobs (of Wheaton College) argues that in his recasting of Lewis's Narnia series, Pullman replaces a theist world-view with a Rousseauist one.[6]

Philip Pullman CBE, FRSL (born 19 October 1946) is an English writer from Norwich. He is the best-selling author of several books, most notably his trilogy of fantasy novels, His Dark Materials, and his fictionalised biography of Jesus, The Good Man Jesus and the Scoundrel Christ. The first book of His Dark Materials has been turned into the film The Golden Compass and the first two books from his Sally Lockhart series as well as his children's novel I was a Rat! or The Scarlet Slippers have been adapted for television.
In 2008, The Times named Pullman in its list of "The 50 greatest British writers since 1945".

Philip Pullman was born in Norwich, England, the son of Audrey Evelyn Pullman (née Merrifield) and Royal Air Force pilot Alfred Outram Pullman. The family travelled with his father's job, including to Southern Rhodesia where he spent time at school.
كان ابوه طيار وعاشت العائلة معه بعض الوقت في روديسيا وقضى الروائي بعض سنوات دراسته في الطفولة هناك
His father was killed in a plane crash in 1953 when Pullman was seven, being awarded posthumously the Distinguished Flying Cross (DFC).
قتل ابوه في حادث صقوط طائرة في عام 1953 وهو في سن السابعة
Pullman said at the beginning of a 2008 exchange that to him as a boy, his father "was a hero, steeped in glamour, killed in action defending his country" and had been "training pilots, I think." Pullman was then presented with a report from The London Gazette of 1954 "which carried the official RAF news of the day [and] said that the medal was given for 'gallant and distinguished service' during the Mau Mau uprising. 'The main task of the Harvards [the squadron of planes led by his father] has been bombing and machine-gunning Mau Mau and their hideouts in densely wooded and difficult country.' This included 'diving steeply into the gorges of [various] rivers, often in conditions of low cloud and driving rain.' Testing conditions, yes, but not much opposition from the enemy, the journalist in the exchange continued. Very few of the Mau Mau had guns that could land a blow on an aircraft." Pullman responded to this new information, writing "my father probably doesn't come out of this with very much credit, judged by the standards of modern liberal progressive thought" and accepted the new information as "a serious challenge to his childhood memory."
His mother remarried and, with a move to Australia, came Pullman's discovery of comic books including Superman and Batman, a medium which he continues to espouse. From 1957 he was educated at Ysgol Ardudwy in Harlech, Gwynedd, and spent time in Norfolk with his grandfather, a clergyman. Around this time Pullman discovered John Milton's Paradise Lost, which would become a major influence for His Dark Materials.
تزوجت والدته وقضى هو الكثير من الوقت مع جده بينما سافرت امه الى استراليا
From 1963, Pullman attended Exeter College, Oxford, receiving a Third class BA in 1968.[3] In an interview with the Oxford Student he stated that he "did not really enjoy the English course" and that "I thought I was doing quite well until I came out with my third class degree and then I realised that I wasn’t — it was the year they stopped giving fourth class degrees otherwise I’d have got one of those".[4] He discovered William Blake's illustrations around 1970, which would also later influence him greatly.
Pullman married Judith Speller in 1970 and began teaching middle school children ages 9 to 13 at Bishop Kirk Middle School in Summertown, North Oxford and writing school plays. His first published work was The Haunted Storm, which joint-won the New English Library's Young Writer's Award in 1972. He nevertheless refuses to discuss it. Galatea, an adult fantasy-fiction novel, followed in 1978, but it was his school plays which inspired his first children's book, Count Karlstein, in 1982. He stopped teaching around the publication of The Ruby in the Smoke (1986), his second children's book, whose Victorian setting is indicative of Pullman's interest in that era.
Pullman taught part-time at Westminster College, Oxford, between 1988 and 1996, continuing to write children's stories. He began His Dark Materials in about 1993. Northern Lights (published as The Golden Compass in the US) was published in 1995 and won the Carnegie Medal, one of the most prestigious British children's fiction awards, and the Guardian Children's Fiction Award.
Pullman has been writing full-time since 1996, but continues to deliver talks and writes occasionally for The Guardian. He was awarded a CBE in the New Year's Honours list in 2004. He also co-judged the prestigious Christopher Tower Poetry Prize (awarded by Oxford University) in 2005 with Gillian Clarke. Pullman also began lecturing at a seminar in English at his alma mater, Exeter College, Oxford, in 2004,[5][6] the same year that he was elected President of the Blake Society.[7] In 2004 Pullman also guest-edited The Mays Anthology, a collection of new writing from students at the University of Oxford and University of Cambridge.
In 2005, he was awarded The Astrid Lindgren Memorial Award by the Swedish Arts Council.
In 2008, he started working on The Book of Dust, a sequel to his completed His Dark Materials trilogy, and "The Adventures of John Blake", a story for the British children's comic The DFC, with artist John Aggs.[8][9][10]
On 23 November 2007, Pullman was made an honorary professor at Bangor University.[11] In June 2008, he became a Fellow supporting the MA in Creative Writing at Oxford Brookes University.[12] In September 2008, he hosted "The Writer's Table" for Waterstone's bookshop chain, highlighting 40 books which have influenced his career.[13] In October 2009, he became a patron of the Palestine Festival of Literature.
Pullman has a strong commitment to traditional British civil liberties and is noted for his criticism of growing state authority and government encroachment into everyday life. In February 2009, he was the keynote speaker at the Convention on Modern Liberty in London[14] and wrote an extended piece in The Times condemning the Labour government for its attacks on basic civil rights.[15] Later, he and other authors threatened to stop visiting schools in protest at new laws requiring them to be vetted to work with youngsters—though officials claimed that the laws had been misinterpreted.[16] In 2010, Pullman left the Liberal Democrats, the party he supported.[17]
On 24 June 2009, Pullman was awarded the degree of D. Litt. (Doctor of Letters), honoris causa, by the University of Oxford at the Encænia ceremony in the Sheldonian Theatre.[18]

Main article: His Dark Materials
His Dark Materials is a trilogy consisting of Northern Lights (titled The Golden Compass in North America), The Subtle Knife and The Amber Spyglass. Northern Lights won the Carnegie Medal for children's fiction in the UK in 1995. The Amber Spyglass was awarded both 2001 Whitbread Prize for best children's book and the Whitbread Book of the Year prize in January 2002, the first children's book to receive that award. The series won popular acclaim in late 2003, taking third place in the BBC's Big Read poll. Pullman later wrote two companion pieces to the trilogy, entitled Lyra's Oxford, and Once Upon a Time in the North. A third companion piece Pullman refers to as the "green book" will expand upon his character Will. He has plans for one more, the as-yet-unwritten The Book of Dust. This book is not a continuation of the trilogy but will include characters and events from His Dark Materials.
In 2005 Pullman was announced as joint winner of the Astrid Lindgren Memorial Award for children's literature.

99ـ الأميركي الرعوي، للمؤلف فيليب روث

99. American Pastoral Philip Roth -For years, Roth was famous for Portnoy's Complaint . Recently, he has enjoyed an extraordinary revival.
American Pastoral is a Philip Roth novel concerning Seymour "Swede" Levov, a Jewish-American businessman and former high school athlete from Newark, New Jersey. Levov's happy and conventional upper middle class life is ruined by the domestic social and political turmoil of the 1960s, which in the novel is described as a manifestation of the "indigenous American berserk". The novel won the Pulitzer Prize in 1998 and was included in Time's "All-TIME 100 Greatest Novels".[1] The film rights to it were later optioned by Paramount Pictures. In 2006, it was one of the runners-up in the "What is the Greatest Work of American Fiction in the Last 25 Years?" contest held by the New York Times Book Review.[2]
The framing device in American Pastoral is a 45th high school reunion attended by frequent Roth alter egoNathan Zuckerman, who is the narrator. At the reunion, in 1995, Zuckerman meets former classmate Jerry Levov who describes to him the tragic derailment of the life of his recently deceased older brother, Seymour "Swede" Levov. After Seymour's teenage daughter Merry in 1968 set off a bomb in protest against American involvement in the Vietnam War, killing a bystander, and subsequently went into hiding, Seymour Levov remained traumatized for the rest of his life. The rest of the novel consists of Zuckerman's posthumous recreation of Seymour Levov's life, based on Jerry's revelation, a few newspaper clippings and Zuckerman's own impressions after two brief run-ins with "the Swede", in 1985 and shortly before his death. In these encounters, which take place early in the novel, Zuckerman learns that Seymour has remarried and has three young sons, but Seymour's daughter Merry is never mentioned. In Zuckerman's reimagining of Seymour's life this second marriage has no part; it ends in 1973 with Watergate unraveling on TV while the previous lives of all the protagonists completely fall apart.

Seymour Levov is born and raised in the Weequahic section of Newark as the son of a successful Jewish-American glove manufacturer. Called "the Swede" because of his anomalous blond hair, blue eyes and Nordic good looks, he is a star athlete in three sports and narrator Nathan Zuckerman's idol and hero. The Swede eventually takes over his father's glove factory, Newark Maid, and marries Dawn Dwyer, an Irish-American Miss New Jersey 1949 winner (the actual winner that year was Betty Jane Crowley).
Levov establishes what he believes to be a perfect American life with a beloved family, a satisfying business life, and a beautiful old home in rural Old Rimrock, New Jersey. Yet as the Vietnam War and racial unrest wrack the country and destroy inner-city Newark, Seymour's teenage daughter Merry, born with an emotionally debilitating stutter, and outraged at the United States' conduct in Vietnam, becomes more radical in her beliefs and in 1968 commits an act of political terrorism. In protest against the Vietnam War and the "system", she plants a bomb in a local post office and the resulting explosion kills a bystander. In this singular act, Levov is cast out of the seemingly perfect life he has built and thrown instead into a world of chaos and dysfunction. Like a number of real-life members of the Weather Underground, Seymour's daughter goes permanently into hiding. In Zuckerman's narration, a reunion of father and daughter takes place in 1973 in Newark's ruined inner city, where Merry is living in abysmal conditions. During this reunion, she claims that since the first bombing she has set off several other bombs resulting in more deaths and that she has been repeatedly raped while living in hiding. Though informed by Merry that she acted consciously and willingly in the murders, Seymour decides to keep their meeting a secret, unwilling to give up his notion of her as essentially an innocent who has been manipulated by stronger influences in the form of an unknown political group.
Zuckerman concludes his version with a dinner party with Seymour's parents and several friends, during which Seymour discovers that his wife has been having an affair with a mutual friend and attendee of the party. The narrator also reveals that Seymour himself has had an affair with Merry's speech therapist who is also attending the party, and had been responsible for hiding Merry in their home after the first bombing. Seymour concludes that all the members of the party have a veneer of respectability, yet each participates in subversive behavior, and that he is unable to understand the truth about anyone based on the actions they reveal outwardly. In this final scene, the narrator reveals Seymour to have concluded that his daughter's actions have made him to see the truth about the chaos beneath the pastoral surface of things, something he can no longer ignore.

The novel alludes extensively to the social upheavals of the late 1960s and early 1970s. It refers to the 1967 Newark riots, the Watergate scandal, the sexual revolution and Deep Throat, the code name of the secret source in the Watergate scandal and the title of a 1972 pornographic film. In the novel's final scene, both the Watergate scandal and the pornographic film are discussed at a dinner party during which the first marriage of "the Swede" begins to unravel when he discovers his wife is having an affair. The novel also alludes to the rhetoric of revolutionary violence of the radical fringe of the New Left and the Black Panthers, the trial of the leftist African-American activist Angela Davis, and the bombings carried out between 1969 and 1973 by the Weathermen and other radicals opposing the US military intervention in Vietnam. The novel quotes from Frantz Fanon's A Dying Colonialism, which Zuckerman imagines as one of the texts that inspire Merry to carry out her bombing of a local post office.
In the novel, Merry's bombing takes place in February 1968, during the presidency of Lyndon B. Johnson, after which she flees her parental home. By that time she has had a "Weathermen motto" tacked up in her room for many months. In reality this would have been impossible. The Weathermen group was in fact formed in the summer of 1969. The lines of the "motto" which appear in the novel ("We are against everything that is good and decent in honky America. We will loot and burn and destroy. We are the incubation of your mothers' nightmares.") allude to a speech by John Jacobs at a Weathermen "war council" in December 1969.
The inspiration for the Levov character was a real person: Seymour “Swede” Masin, a phenomenal, legendary all-around Jewish athlete who, like the Levov character, attended Newark’s Weequahic High School. Like the book’s protagonist, Swede Masin was revered and idolized by many local middle-class Jews.
Both “Swedes” were tall and had distinctively blond hair and blue eyes, which stood out among the typically dark-haired, dark-complexioned local residents. Both attended a teacher’s college in nearby East Orange; both married out of their faith; both served in the military and, upon their return, both moved to the suburbs of Newark.
==
BOOK SUMMARY
As the American century draws to an uneasy close, Philip Roth gives us a novel of unqualified greatness that is an elegy for all our century's promises of prosperity, civic order, and domestic bliss. Roth's protagonist is Swede Levov, a legendary athlete at his Newark high school, who grows up in the booming postwar years to marry a former Miss New Jersey, inherit his father's glove factory, and move into a stone house in the idyllic hamlet of Old Rimrock. And then one day in 1968, Swede's beautiful American luck deserts him.

Media Reviews
Booklist - Ted Leventhal
Pastoral, like Roth's 21 previous works, is well crafted with vivid, crisp prose, but unlike the others, it's empty....Roth vents his bitterness with America and himself. Once again, no one escapes the misery that personifies modern America.

Publishers Weekly
The protagonist of Roth's new novel, a magnificent meditation on a pivotal decade in our nation's history, is in every way different from the profane and sclerotic antihero of Sabbath's Theater.

Kirkus Reviews
Roth's elegiac and affecting new novel, his 18th, displays a striking reversal of form--and content--from his most recent critical success, the Portnoyan Sabbath's Theater (1995). Here, and in more conventionally expository authorial passages, meditativeness and discursiveness predominate over drama. Nevertheless, passion seethes through the novel's pages. Some of the best pure writing Roth has done. And Swede Levov's anguished cry "What the hell is wrong with doing things right?" may be remembered as one of the classic utterances in American fiction.

Library Journal - Barbara Hoffert
In his latest novel, Roth shows his age. Not that his writing is any less vigorous and supple. But in this autumnal tome, he is definitely in a reflective mood, looking backward. .... In the end, the book positively resonates with the anguish of a father who has utterly lost his daughter. Highly recommended.

Salon - Albert Mobilio
Structurally, the book is poorly shaped. Roth doesn't circle back to the 90-page preamble featuring Zuckerman, the ending feels arbitrary and the gratifying if bracing payoff that American Pastoral vigorously promises throughout is denied. But, if you want a Philip Roth book that isn't just another bulletin from his life, this one is that and more.

The Atlantic Monthly, Ralph Lombreglia
.... an allegory seemingly conceived in an abstracted realm of big notions and fixed ideas. American Pastoral is a relentlessly mental book, full of inconclusive rumination on material often left strangely undramatized. And that, along with the book's mystifyingly haphazard structure, prevents it from becoming a "genuine imaginative event."

The New York Times Book Review, Michael Wood
American Pastoral is a little slow--as befits its crumbling subject, but unmistakably slow all the same--and I must say I miss Zuckerman's manic energies. But the mixture of rage and elegy in the book is remarkable, and you have only to pause over the prose to feel how beautifully it is elaborated, to see that Mr. Roth didn't entirely abandon Henry James after all. A sentence beginning "Only after strudel and coffee," for instance, lasts almost a full page and evokes a whole shaky generation, without once losing its rhythm or its comic and melancholy logic, until it arrives, with a flick of the conjuror's hand, at a revelation none of us can have been waiting for.

The New York Times - Michiko Kakutani
One of Roth's most powerful novels ever...moving, generous and ambitious...a fiercely affecting work of art.

Boston Globe
Dazzling...a wrenching, compassionate, intelligent novel...gorgeous.

San Francisco Chronicle
At once expansive and painstakingly detailed.... The pages of American Pastoral crackle with the electricity and zest of a first-rate mind at work.
Recent Reader Reviews
Rated of 5 by debbie
Repetition, Anyone?
I chose to read this book because it was a Pulitzer winner and I cannot understand why [it won]. The story goes in circles, the writing style is wordy without much substance. How many times and ways can you say what essentially is the same thing

هو فيليب روث الرواية المتعلقة سيمور "السويدي" Levov ، وهو اليهودي الاميركي السابق ورجل الأعمال رياضي في المدرسة الثانوية من نيوارك بولاية نيو جيرسي . Levov's happy and conventional upper middle class life is ruined by the domestic social and political turmoil of the 1960s, which in the novel is described as a manifestation of the "indigenous American berserk ". Levov سعيد التقليدية و الطبقة المتوسطة العليا هي التي دمرت حياة الاضطرابات الاجتماعية والسياسية المحلية من 1960s ، والذي في الرواية يوصف بأنه مظهر من مظاهر "الأميركية الأصلية هائج ". The novel won the Pulitzer Prize in 1998 and was included in Time 's "All-TIME 100 Greatest Novels" . [ 1 ] The film rights to it were later optioned by Paramount Pictures . الرواية فازت بجائزة بوليتزر في عام 1998 وأدرجت في وقت "ليالي "روايات كل مرة 100 اكبر" . [1] كان optioned حقوق الفيلم في وقت لاحق من قبل ل باراماونت . In 2006, it was one of the runners-up in the "What is the Greatest Work of American Fiction in the Last 25 Years?" في عام 2006 ، انها واحدة من المتابعة في المركز الثاني "ما هو أعظم عمل روائي الاميركي في السنوات ال 25 الماضية؟" contest held by the New York Times Book Review المسابقة التي أجرتها نيويورك ريفيو كتاب تايمز .
The framing device in American Pastoral is a 45th high school reunion attended by frequent Roth alter egoNathan Zuckerman , who is the narrator. و الجهاز تأطير الرعوية في أمريكا هو 45 مدرسة ثانوية لم الشمل حضره متكررة روث الأناناثان زوكرمان ، الذي هو الراوي. At the reunion, in 1995, Zuckerman meets former classmate Jerry Levov who describes to him the tragic derailment of the life of his recently deceased older brother, Seymour "Swede" Levov. في لم الشمل ، في عام 1995 ، يجتمع زوكرمان زميل السابق جيري Levov الذي يصف له انحراف المأساوي من حياة شقيق المتوفى مؤخرا الأكبر منه سنا ، سيمور "السويدي" Levov. After Seymour's teenage daughter Merry in 1968 set off a bomb in protest against American involvement in the Vietnam War , killing a bystander, and subsequently went into hiding, Seymour Levov remained traumatized for the rest of his life. بعد ميلاد سعيد لابنة في سن المراهقة سيمور في عام 1968 تفجير قنبلة في احتجاج ضد التورط الأميركي في حرب فيتنام لا تزال سيمور Levov مما أدى الى مقتل أحد المارة ، وذهب بعد ذلك إلى الاختباء ، صدمة بالنسبة لبقية حياته. The rest of the novel consists of Zuckerman's posthumous recreation of Seymour Levov's life, based on Jerry's revelation, a few newspaper clippings and Zuckerman's own impressions after two brief run-ins with "the Swede", in 1985 and shortly before his death. بقية الرواية تتألف من الترفيه زوكرمان وبعد وفاته الحياة سيمور Levov ، على أساس الوحي جيري ، وقصاصات من الصحف القليلة والانطباعات زوكرمان نفسه بعد سنتين وجيزة الإضافية تشغيل مع "السويدي" ، وعام 1985 ، وقبل وقت قصير من وفاته. In these encounters, which take place early in the novel, Zuckerman learns that Seymour has remarried and has three young sons, but Seymour's daughter Merry is never mentioned. في هذه اللقاءات ، التي تجري في وقت مبكر من الرواية ، ويتعلم أن زوكرمان سيمور وقد تزوج ولديه ثلاثة أبناء ، ولكن لم يذكر سيمور ابنة ميري. In Zuckerman's reimagining of Seymour's life this second marriage has no part; it ends in 1973 with Watergate unraveling on TV while the previous lives of all the protagonists completely fall apart. في reimagining زوكرمان للحياة سيمور لهذا الزواج الثاني ليس لديه جزء ، بل تنتهي في عام 1973 مع ووترغيت الكشف على شاشة التلفزيون في حين أن حياة سابقة من جميع الفرقاء تقع تماما عن بعضها البعض.

١٠ حزيران (يونيو) ٢٠٠٦بقلم منى مدكور


أجرى الصحافي الدنماركي مارتن كراسنيك هذه المقابلة النادرة مع الروائي الأميركي فيليب روث بمناسبة صدور روايته السابعة والعشرين التي تحمل عنوان «إيفريمان»، وقد بادرت صحيفة «الجارديان» اللندنية بنشرها.
حيث يتحدث فيها الروائي الأميركي عن هذه الرواية وعما يعنيه الموت، الذي يلعب دور البطولة في العمل كله، وعما يخاف منه ويرغب فيه، وعما يعتقد أنه جوهر الأدب، بعد أن أفنى عمره في الإبداع الأدبي وتدريس الكتابة الإبداعية في كبرى الجامعات الأميركية. وفيما يلي نص المقابلة:
نادراً ما يسمح فيليب روث بإجراء مقابلات معه، وقد اكتشف السر في ذلك سريعاً، وليس مرد صعوبة إجراء المقابلات معه إلى فظاظته أو كآبته، فكل ما في الأمر أنه لا يطيق الإجابة عن الأسئلة ذاتها مراراً وتكراراً، حيث يستهل اللقاء معه بالتساؤل: «ما الذي تريد أن تسأل عنه؟». وعلى الفور ينتقل الإحساس إلى من يجري الحوار معه بأن الأمر لن يكون سهلاً بحال.
ويكفي المرء أن يتذكر أنه قبل عدة شهور أجرت صحيفة «نيويورك تايمز» مقابلة مع روث بمناسبة قيام «مكتبة أميركا» بطبع أعماله في إطار إصداراتها، حيث أصبح مع كاتبين آخرين، هما إيودورا ويلي وسول بيلو، الكتاب الوحيدين الذين نالوا هذا الشرف وهم لا يزالون على قيد الحياة، ولكن روث لم يقل شيئاً، من الناحية العملية، لمحرر «نيويورك تايمز» الذي تفاقم شعوره باليأس.
هكذا فإن الأمر اقتضى مني جهداً كبيراً لطرح الاسئلة ـ ومواصلة طرحها ـ حول روث والواقع أنه يظهر في العديد من كتبه سواء في مرحلة الشباب، أو النضج، ثم هناك ذاته البديلة، أي المؤلف ناتان زكرمان الذي يظهر في العديد من كتبه. إذن أين ينتهي الأمر بفيليب روث الحقيقي وأين يبدأ الأدب؟ يتطلع إليَّ فيليب روث الحقيقي بصبر نافذ، كما لو أنني شخص غبي أو سخيف.
يقول: «إنني لا أفهم هذا السؤال فحسب. ولست أقرأ الكتب أو استوعبها على هذا النحو. فأنا أهتم بالموضوع، بالشيء، بالقصة، بالصدمة الجمالية التي تتلقاها من كونك داخل هذا الشيء. هل أنا روث أم زكرمان؟ الأمر كله يدور حولي. ذلك هو ما أقوله عاده. الأمر كله يدور حولي. ولا شيء هو أنا.
عندئذ ينكسر حاجز الجليد بيني وبينه، وكنت قد أحضرت معي إلى حيث نجري الحوار نسخاً من «الحيوان المحتضر» و»اللطخة البشرية»، وهما كتابان يدوران حول العلاقة بين رجل أكبر سناً وامرأة في مقتبل العمر. ترى لماذا يهمه هذا الأمر؟ يقول: «لانه موجود».
أصارحه بأن إجراء حوار معه يمكن أن يكون أمراً بالغ الصعوبة، مثل قيام المرء بتسلق جبل جليد عارياً.
يقول: «طيب، إنني لست موجوداً على ظهر هذه الأرض لأجعل حياتك سهلة». يضحك فتبدو ضحكته كإعلان عن الضحك أو إشعار به، فهو لا يبتسم، وإنما تنطلق ضحكته قوية: «ها.ها».
أقول: «ربما لا ينبغي أن نتحدث عن الأدب على الإطلاق».يقول: «ها.ها. هذا هو الحديث حقاً. لسوف أشعر بأنني في حالة رائعة إذا صدر إعلان بحظر الحديث عن الأدب مئة عام كاملة، إذا أُغلقت كل أقسام الأدب في كل الجامعات، إذا فُرض حظر على حديث النقاد. إن القراء ينبغي أن يكونوا وحدهم مع الكتب.
وإذا جرؤ أحد على أن يقول شيئاً عن الكتب فينبغي القيام بإطلاق النار عليه أو إيداعه السجن في التو. نعم، إطلاق النار عليه. حظر يدوم مئة عام على الأحاديث الأدبية المضجرة.
ينبغي ترك الناس يصارعون الكتب بطريقتهم الخاصة، ويكتشفون بأنفسهم جوهر هذه الكتب وما الذي لاتعنيه. وأي شيء بخلاف ذلك لا يعد إلا ثرثرة خالصة، ثرثرة حكايات خرافية، فما أن تبدأ في التعميم حتى تعد في كون مختلف تمام الاختلاف عن الأدب.
ولا وجود لجسر يصل بين الكونين».يمضي روث خطوات ويحضر «كليشيه» صغيراً أسود، هو الذي استخدم في طباعة غلاف روايته السابعة والعشرين «إيفريمان». ويقول: «ما رأيك فيها؟» أقول: «إنها تبدو كما لو كانت تدور حول الموت، فهي عبارة عن لوحة سوداء تماماً مع خط أحمر رفيع يشكل إطاراً للعنوان المؤلف من كلمة واحدة».يقول روث:
«نعم، أصبت كبد الحقيقة، ذلك أن «إيفريمان» هو اسم بطل سلسلة من المسرحيات الانجليزية التي تعود في الزمن إلى القرن الخامس عشر. وهي مسرحيات رمزية، تنتمي إلى المسرح الأخلاقي، وكانت عروضها تقدم في المقابر، والموضوع الذي تدور حوله هو على الدوام الخلاص. والكلاسيكي منها يقال له «إيفريمان».
ويعود على وجه الدقة إلى عام 1485 ومؤلفها مجهول الهوية، وقد كانت في منتصف المسافة بالضبط بين تشوسر وميلاد شكسبير. وكان الدرس الأخلاقي المتضمن فيها هو «اعمل بجد وانطلق إلى الفردوس» و»كن إنساناً طيباً وإلا فاذهب إلى الجحيم» و«إيفريمان» هو الشخصية الرئيسية.
وهو يتلقى زيارة من ملاك الموت، فيحدث نفسه بأن هذا الملاك هو مبعوث من نوع ما، ولكن ملاك الموت يقول له: «إنني ملاك الموت» ورد أيفريمان هو السطر العظيم الأول في الدراما الانجليزية، حيث يقول: «أوه، يا ملاك الموت، إنك تجييء في أقل الأوقات التي استحضرك فيها إلى ذهني. في أقل الأوقات التي أفكر فيها فيك». وكتابي الجديد هو عن الموت وعن الاحتضار. طيب ما رأيك؟».
أقول: «إن الكليشيه عبارة عن لوحة سوداء». وأتساءل عما إذا لم يكن الناشر قد ساوره الشعور بالقلق حول أن الناس قد لا ترغب في شراء الكتاب بسبب لون غلافه»، فيقول: «لا يعنيني هذا، فأنا أريده على هذه الشاكلة».
أقول له إن الكتاب يبدو من الخارج كما لو كان نسخة من الكتاب المقدس، فيرد: «ها.ها. مدهش. عظيم. أعتقد أنه يبدو مثل شاهد قبر». وينتظر أن أطرح السؤال التالي.أسأله: «هل تخاف الموت؟».
يفكر طويلاً قبل أن يرد، وربما كان يفكر في شيء آخر، ويضيف: «نعم، إنني أخشى أن الموت فظيع. ما ذا عساني أقول خلاف ذلك، إنه يكسر الفؤاد، ويستعصى على التفكير، يستعصى على التصديق. إنه مستحيل.
أسأله: «هل تفكر كثيراً في الموت؟»
يقول: «أجبرت على التفكير فيه طوال الوقت عندما كنت عاكفا على تأليف هذا الكتاب. وأمضيت يومين بكاملهما في مقبرة لأرى كيف يحفرون المدافن. وكنت على امتداد سنوات قد قررت ألا أفكر في الموت أبداً.
لقد رأيت الناس وهم يموتون، بالطبع، رأيت أبواي يموتان، ولكنني لم أعايش الموت باعتباره شيئاً محزناً ومدمراً بلا حدود إلا بعد أن مات صديق طيب لي في ابريل الماضي. وقد كان من أبناء جيلي، ولم يكن في الاتفاق الذي بيني وبينه أنه سيرحل قبلي على هذا النحو، ولم أر الصفحة التي تتضمن ذلك في الاتفاق والأمر كما يقول هنري جيمس على فراش موته: «آه، هو ذا يجيئ ، الأمر الجلل».
أتساءل: «هل أنت راض عن حياتك؟».
يقول: «قبل ثماني سنوات حضرت حفلاً لتكريم ذكرى مؤلف راحل. وكان رجلاً مدهشاً مليئاً بالحياة، بالمرح، بالفضول. وكان يعمل في مجلة في نيويورك، ويعيش قصة حب مع امرأة رائعة. وخلال ذلك الحفل كانت هنا نساء، من كل الأعمار، وقد انخرطن في البكاء جميعهن ، وغادرن القاعة، لانهن لم يستطعن مواجهة الموقف، وقد كانت تلك أفضل إشادة به على الإطلاق..».
اسأله: «ماذا ستفعل النسوة في جنازتك؟»
ينظر إلى خارج النافذة عبر مبان وسط نيويورك، ويقول: «إذا حضرن أصلاً..فربما سيصرخن أمام الجثمان. لعلك تعرف أن العاطفة المفعمة بالشغف لا يغيرها الزمن، ولكنك أنت تتغير، تصبح أكثر تقدماً في العمر، يصبح الظمأ إلى النساء أكثر إيلاماً، وهناك قوة هائلة في أوجاع الحب لم تكن هناك من قبل. والشغف بالحب عميق دائماً، ولكنه يغدو أكثر عمقاً».
أسأله: «قلت إنك تخشى الموت. وأنت في الثانية والسبعين من العمر. مم تخاف؟».ينظر إليّ: النسيان.
أخاف من ألا أكون مفعماً بالحياة، ببساطة بالغة أخاف من ألا أشعر بالحياة، من ألا أشمها. ولكن الفارق بين اليوم وبين الخوف من الموت الذي كان لديَّ عندما كنت في الثانية عشرة من العمر هو أنني الآن لديَّ نوع من السكينة حيال الواقع، فلم أعد أشعر بأن من الظلم البالغ أن أرغم على الموت ارغاماً.
محطات في مسيرة روث
ولد الروائي الأميركي فيليب ميلتون روث في عام 1933 في نيو آرك بولاية نيوجيرسي، وتلقى تعليمه في مدارس نيو آرك العامة وحصل على درجة البكالوريوس من جامعة باكنيل وعلى الماجستير من جامعة شيكاغو ولم يكمل دراسته لنيل درجة الدكتوراه وعمل بتدريس اللغة الانجليزية وفي وقت لاحق بتدريس الكتابة الإبداعية في جامعي أيوا وبرنستون وتقاعد من مهنة التدريس في 1992 ليتفرغ نهائياً للكتابة.
كان أول كتاب أصدره روث هو «وداعاً كولومبوس»
تزوج روث في 1990 من الممثلة كلير بلوم التي تخصصت في أداء الأدوار الشكسبيرية .
يعد روث الروائي الأميركي الذي حصد أكبر قدر من الجوائز وألوان التكريم والتقدير في تاريخ الأدب الأميركي الحديث، ابتداء من جائزة آغا خان في 1958 مروراً بزمالة جوجنهايم في 1960 وجائزة فوكنر في 1992 وجائزة كارل كابيك في 1994 وجائزة بوليتزر لأعمال القص في 1997 وليس انتهاء بجائزة فرانز كافكا في 2001 وجائزة مديتشي الفرنسية في 2002 وميدالية مؤسسة الكتاب الوطنية في العام نفسه وجائزة سايدوايز في 2005

فيليب روث بعد فوزه بالبوكر :حياة في قصص.. وقصص في حياة

الروائي الأميركي فيليب روث : الشيخوخة المذلة
الأربعاء, 30 نوفمبر 2011 18:29 | كتبها أنطوان جوكي

باريس – أنطوان جوكي
منذ بضع سنوات والروائي الأميركي فيليب روث يدور حول موضوع الشيخوخة فيصوّرها كتهشيمٍ لا يطاق. والسبب إدراكه أن الموت يحوم حوله بعدما بلغ الثامنة والسبعين. لكن روث لا يخاف الموت بقدر ما يخاف الشيخوخة لكونها المرحلة التي يضيق فيها الأفق ويتربّع القلق على ما تبقّى من زمنٍ، قلق التواري ولكن خصوصاً القلق من فقدان القدرة على الكتابة التي تشكّل المعنى الوحيد لحياته.

من هذا المنطلق تجدر قراءة روايته الأخيرة التي صدرت ترجمتها الفرنسية حديثاً لدى دار «غاليمار» تحت عنوان «الإذلال» وتبدو لنا، أكثر من جميع رواياته السابقة، مستمدّة من تجربته الشخصية، كي لا نقول من سيرته الذاتية، وتظهر في شكل نصٍ مسرحي تراجيدي ذي ثلاثة فصول. في الفصل الأول، نتعرّف إلى بطل روايته، الممثل المسرحي اللامع سيمون أكسلر الذي، بعدما أدّى أهم أدوار المسرح الكلاسيكي وجسّد شخصيات شكسبير بمهارةٍ جلبت له شهرةً كبيرة، نجده في العقد السادس من العمر وقد فقد سحره وموهبته وثقته بنفسه ولم يعد قادراً على الصعود إلى خشبة المسرح، فيدخل في مرحلة اكتئابٍ عميقة تقوده إلى مستشفى الأمراض العقلية حيث سيمضي وقته في الاستماع إلى انتحاريين وفي التفكير بالمسرحيات التي لا تحصى التي ينتحر فيها البطل، من فيدر إلى أوتيللو، بموازاة إنجازه رسومٍ طفولية تحت أنظار الطبيب.

في الفصل الثاني من الرواية، نشاهد أكسلر معزولاً في ريف نيويورك، بعدما غادرته زوجته، قبل أي يلتقي صدفةً بابنة صديقين قديمين له، بيغين ستابلفورد، تعاني من خيبة أمل عاطفية، فتنطلق علاقة إيروسية قوية بينهما يتحوّل أكسلر خلالها جذرياً وينبثق أملٌ كبير داخله بقصة حبٍّ تدوم وبصعود جديد إلى خشبة المسرح وحتى بأبوّة لم يختبرها من قبل. لكن في الفصل الأخير، ترحل بيغين بدورها ومعها أوهام حبّهما فيسقط الستار على «إذلالٍ» أخير يقود أكسلر إلى تأدية دوره الأكبر والنهائي...

لدى صدور هذه الرواية في أميركا عام 2009، استقبلتها الصحافة الأنغلوسكسونية بكثير من التحفّظ فانتقد بعض النقّاد بعض المقاطع السطحية فيها، وبالتالي قيمة مضمونها، بينما انتقد نقّاد آخرون حبكتها نظراً إلى سهولة التكّهن بتتابع أحداثها، والإباحية غير المبرّرة في بعض مشاهدها. لكن هذه الانتقادات، على صحّتها النسبية، لا تقلّل من أهمية هذه الرواية إن على مستوى عمق المعالجة التي يخصّصها روث فيها لمواضيع جوهرية كثيرة، كهشاشة الموهبة الفنية وواقع الشيخوخة المخيف وخدعة الحياة الكبرى: الحب، أو على مستوى تشكيل هذا النص مرآةً لهواجس صاحبه الذي لطالما استمد مادة رواياته من معيشه.

الممثل بطلاً

طبعاً روث هو روائي وليس ممثّل مسرحي كبطل روايته، لكن هل من فارق يُذكَر بين الكتابة والتمثيل، أو بالأحرى بين عدم إمكانية الكتابة وعدم إمكانية التمثيل؟ في حوارٍ قديم معه، قال: «في رواياتي، ألعب، بالمعنى المسرحي للكلمة، بواسطة شخصياتٍ مسخَّرة لذلك. الروائي يُمثّل، يدّعي أنه آخر. آخرون. يتنكّر مثل ممثّل لا يكون نفسه إلا داخل الشخصية التي يؤدّيها». ومؤخّراً قال: «الوسيلة الوحيدة لتجاوز روايةٍ أو قصة حب هي في الانخراط داخل رواية أو قصة حب جديدة. لكن مع الأسف، لم يعد هذان الدواءان في متناولي. فأنا مصابٌ حالياً بما حاولتُ في السابق تحاشيه عبر إسقاطه على شخصيات رواياتي. فلنسمّي ذلك اكتئاباً أو انحسار القدرات الإبداعية».

ومن خلال هذه الرواية الشخصية جداً إذاً، يقارب الروائي سؤالاً جوهرياً يخصّنا جميعاً هو: كيف نعيش حين لا نعود نصدّق في لعبة الأدوار التي تفرضها الحياة علينا؟ فكي نلعب جيداً دوراً ما علينا أن ننسى بأننا نلعبه. أما بطل روايته أكسلر فيصل به الحال إلى حد «لا يعود فيه قادراً على إقناع نفسه بأنه مجنون، بعدما لم يعد قادراً على إقناع نفسه والآخرين بأنه ماسبيرو أو ماكبث. والدور الوحيد الذي يبدو بمتناوله هو دور شخصٍ يلعب دوراً». بعبارةٍ أخرى، يغوص روث بنا، من خلال بطله، داخل انفصامات الأنا مبيّناً البُعد المسرحي في هويتنا المتنقّلة دائماً من دورٍ إلى آخر، وكاشفاً في سبيله وهم تعلّقنا بالآخرين والعتمة التعيسة التي تتربّص بعواطفنا وأهوائنا وحتمية عزلتنا الراديكالية والرهيبة في مطاف العمر.

وأبعد من حالة عدم التوازن المُزْمِن التي تميّز جميع شخصيات رواياته السابقة وتضعها على حافة السقوط، يتقدّم روث هذه المرّة في اتجاه الانتحار ويقفز إلى داخله فيتغنّى بأصالة هذا السلوك حين يتكلّل بالنجاح، ويُحلّل آلياته، متوقفاً عند العقبات الكثيرة التي يجب تجاوزها أو تبديدها لبلوغ هذا المسعى. وفي هذا السياق، يقول: «إذا كان صعباً إلى هذا الحد قتل شخصٍ نملك جميع الأعذار لقتله، فلنتخيّل صعوبة النجاح في قتل ذاتنا».

تبقى كوميديا الجنس الحاضرة في جميع رواياته السابقة ونجدها في روايته الأخيرة كمجرّد قناعٍ يخفي لفترةٍ من الزمن مأساة قدرنا. وفعلاً، من فعل تمرّد على الزمن، كما في رواية «بورتوي» (1969) أو في رواية «أستاذ الرغبة» (1977)، يبدو بحث روث عن المتعة الجنسية، في خريف عمره، كحركةٍ حيوية بقدر ما هي يائسة، جسدية بقدر ما هي روحية وميتافيزيقية، ضمن صراعٍ محسومة نتيجته سلفاً بين نزعة الحياة ونزعة الموت.

Philip Milton Roth (born March 19, 1933) is an American novelist. He gained fame with the 1959 novellaGoodbye, Columbus, an irreverent and humorous portrait of Jewish-American life that earned him a National Book Award.[2] In 1969 he became a major celebrity with the publication of the controversial Portnoy's Complaint, the humorous and sexually explicit psychoanalytical monologue of "a lust-ridden, mother-addicted young Jewish bachelor," filled with "intimate, shameful detail, and coarse, abusive language."[2][3]
Roth has since become one of the most honored authors of his generation: his books have twice been awarded the National Book Award, twice the National Book Critics Circle award, and three times the PEN/Faulkner Award. He received a Pulitzer Prize for his 1997 novel, American Pastoral, which featured his best-known character, Nathan Zuckerman, the subject of many other of Roth's novels. His 2001 novel The Human Stain, another Zuckerman novel, was awarded the United Kingdom's WH Smith Literary Award for the best book of the year. His fiction, set frequently in Newark, New Jersey, is known for its intensely autobiographical character, for philosophically and formally blurring the distinction between reality and fiction, for its "supple, ingenious style," and for its provocative explorations of Jewish and American identity.[4]

Philip Roth grew up in the Weequahic neighborhood of Newark, New Jersey, as the second child of first-generation American parents, Jews of Galician descent, and graduated from Newark's Weequahic High School in 1950.[5] Roth attended Bucknell University, earning a degree in English. He pursued graduate studies at the University of Chicago, where he received an M.A. in English literature in 1955 and worked briefly as an instructor in the university's writing program. Roth taught creative writing at the University of Iowa and Princeton University. He continued his academic career at the University of Pennsylvania, where he taught comparative literature before retiring from teaching in 1991.
While at Chicago, Roth met the novelist Saul Bellow, as well as Margaret Martinson, who became his first wife. Their separation in 1963, along with Martinson's death in a car crash in 1968, left a lasting mark on Roth's literary output. Specifically, Martinson was the inspiration for female characters in several of Roth's novels, including Lucy Nelson in When She Was Good, and Maureen Tarnopol in My Life As a Man.[6] Between the end of his studies and the publication of his first book in 1959, Roth served two years in the United States Army and then wrote short fiction and criticism for various magazines, including movie reviews for The New Republic. Events in Roth's personal life have occasionally been the subject of media scrutiny. According to his pseudo-confessional novel Operation Shylock (1993), Roth suffered a nervous breakdown in the late 1980s. In 1990, he married his long-time companion, English actress Claire Bloom. In 1994 they separated, and in 1996 Bloom published a memoir, Leaving a Doll's House, which described the couple's marriage in detail, much of which was unflattering to Roth. Certain aspects of I Married a Communist have been regarded by critics as veiled rebuttals to accusations put forth in Bloom's memoir.

Roth's first book, Goodbye, Columbus, a novella and five short stories, won the National Book Award in 1960, and afterwards he published two novels, Letting Go and When She Was Good. However, it was not until the publication of his third novel, Portnoy's Complaint, in 1969 that Roth enjoyed widespread commercial and critical success. During the 1970s Roth experimented in various modes, from the political satire Our Gang to the KafkaesqueThe Breast. By the end of the decade Roth had created his alter ego Nathan Zuckerman. In a series of highly self-referential novels and novellas that followed between 1979 and 1986, Zuckerman appeared as either the main character or an interlocutor.
Sabbath's Theater (1995) has perhaps Roth's most lecherous protagonist, Mickey Sabbath, a disgraced former puppeteer. In complete contrast, the first volume of Roth's second Zuckerman trilogy, 1997's American Pastoral, focuses on the life of virtuous Newark athletics star Swede Levov and the tragedy that befalls him when his teenage daughter transforms into a domestic terrorist during the late 1960s. I Married a Communist (1998) focuses on the McCarthy era. Allegedly inspired by the life of the writer Anatole Broyard, The Human Stain examines identity politics in 1990s America. The Dying Animal (2001) is a short novel about eros and death that revisits literary professor David Kepesh, protagonist of two 1970s works, The Breast and The Professor of Desire. In The Plot Against America (2004), Roth imagines an alternate American history in which Charles Lindbergh, aviator hero and isolationist, is elected U.S. president in 1940, and the U.S. negotiates an understanding with Hitler's Nazi Germany and embarks on its own program of anti-Semitism.
Roth's novel Everyman, a meditation on illness, aging, desire, and death, was published in May 2006. For Everyman Roth won his third PEN/Faulkner Award, making him the only person so honored. Exit Ghost, which again features Nathan Zuckerman, was released in October 2007. According to the book's publisher, it is the last Zuckerman novel.[7]Indignation, Roth's 29th book, was published on September 16, 2008. Set in 1951, during the Korean War, it follows Marcus Messner's departure from Newark to Ohio's Winesburg College, where he begins his sophomore year. In 2009, Roth's 30th book The Humbling was published, which told the story of the last performances of Simon Axler, a celebrated stage actor. Roth’s 31st book, Nemesis, was published on October 5, 2010. According to the book's notes, Nemesis is the final in a series of four "short novels," which also included Everyman, Indignation and The Humbling.
In October 2009, during an interview with Tina Brown of The Daily Beast website to promote The Humbling, Roth considered the future of literature and its place in society, stating his belief that within 25 years the reading of novels will be regarded as a "cultic" activity:
I was being optimistic about 25 years really. I think it's going to be cultic. I think always people will be reading them but it will be a small group of people. Maybe more people than now read Latin poetry, but somewhere in that range... To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks you don't read the novel really. So I think that kind of concentration and focus and attentiveness is hard to come by — it's hard to find huge numbers of people, large numbers of people, significant numbers of people, who have those qualities[.][8]
When asked his opinion on the emergence of digital books and e-books as possibly replacing printed copy, Roth was equally negative and downbeat about the prospect:
The book can't compete with the screen. It couldn't compete [in the] beginning with the movie screen. It couldn't compete with the television screen, and it can't compete with the computer screen... Now we have all those screens, so against all those screens a book couldn't measure up.[9]
This interview is not the first time that Roth has expressed pessimism over the future of the novel and its significance in recent years. Talking to the Observer's Robert McCrum in 2001, he said that "I'm not good at finding 'encouraging' features in American culture. I doubt that aesthetic literacy has much of a future here."[8]

Much of Roth's fiction revolves around semi-autobiographical themes, while self-consciously and playfully addressing the perils of establishing connections between the author Philip Roth and his fictional lives and voices,[citation needed] including narrators and protagonists such as David Kepesh and Nathan Zuckerman or even the character "Philip Roth", of which there are two in Operation Shylock. In Roth's fiction, the question of authorship[citation needed] is intertwined with the theme of the idealistic,[citation needed] secular Jewish-American son who attempts to distance himself from Jewish customs and traditions, and from what he perceives as the at times suffocating influence of parents, rabbis, and other community leaders. Jewish sons such as most infamously Alexander Portnoy and later Nathan Zuckerman rebel by denouncing Judaism, while at the same time remaining attached to a sense of Jewish identity.[citation needed] Roth's fiction has been described by critics as pervaded by "a kind of alienation that is enlivened and exacerbated by what binds it".[10]
Roth's first work, Goodbye, Columbus, for his irreverent humor of the life of middle-class Jewish Americans, was controversial among reviewers, which were highly polarized in their judgments;[2] a reviewer criticized it as infused with a sense of self-loathing. In response, Roth, in his 1963 essay "Writing About Jews" (collected in Reading Myself and Others), maintained that he wanted to explore the conflict between the call to Jewish solidarity and his desire to be free to question the values and morals of middle-class Jewish Americans uncertain of their identities in an era of cultural assimilation and upward social mobility:
The cry "Watch out for the goyim!" at times seems more the expression of an unconscious wish than of a warning: Oh that they were out there, so that we could be together here! A rumor of persecution, a taste of exile, might even bring with it the old world of feelings and habits — something to replace the new world of social accessibility and moral indifference, the world which tempts all our promiscuous instincts, and where one cannot always figure out what a Jew is that a Christian is not.[11]
In Roth's fiction, the exploration of "promiscuous instincts" within the context of Jewish-American lives, mainly from a male viewpoint, plays an important role. In the words of critic Hermione Lee:
Philip Roth's fiction strains to shed the burden of Jewish traditions and proscriptions. … The liberated Jewish consciousness, let loose into the disintegration of the American Dream, finds itself deracinated and homeless. American society and politics, by the late sixties, are a grotesque travesty of what Jewish immigrants had traveled towards: liberty, peace, security, a decent liberal democracy.[12]
While Roth's fiction has strong autobiographical influences, it has also incorporated social commentary and political satire, most obviously in Our Gang and Operation Shylock. Since the 1990s, Roth's fiction has often combined autobiographical elements with retrospective dramatizations of postwar American life. Roth has described American Pastoral and the two following novels as a loosely connected "American trilogy". All these novels deal with aspects of the postwar era against the backdrop of the nostalgically remembered Jewish-American childhood of Nathan Zuckerman, in which the experience of life on the American home front during the Second World War features prominently.[citation needed]
In much of Roth's fiction, the 1940s, comprising Roth's and Zuckerman's childhood, mark a high point of American idealism and social cohesion. A more satirical treatment of the patriotism and idealism of the war years is evident in Roth's more comic novels, such as Portnoy's Complaint and Sabbath's Theater. In The Plot Against America, the alternate history of the war years dramatizes the prevalence of anti-Semitism and racism in America during the war years, despite the promotion of increasingly influential anti-racist ideals in wartime. Nonetheless, the 1940s, and the New Deal era of the 1930s that preceded it, are portrayed in much of Roth's recent fiction as a heroic phase in American history. A sense of frustration with social and political developments in the US since the 1940s is palpable in the American trilogy and Exit Ghost, but had already been present in Roth's earlier works that contained political and social satire, such as Our Gang and The Great American Novel. Writing about the latter novel, Hermione Lee points to the sense of disillusionment with "the American Dream" in Roth's fiction: "The mythic words on which Roth's generation was brought up — winning, patriotism, gamesmanship — are desanctified; greed, fear, racism, and political ambition are disclosed as the motive forces behind the 'all-American ideals'."

فيليب روث

American novelist and short story writer. Philip Roth first achieved fame with GOODBYE, COLUMBUS (1959). It consisted of a novella and five short stories and described the life of a of Jewish middle-class family. Ten years later appeared PORTNOY'S COMPLAINT. In this "masturbation story" the narrator searches for freedom by using sex as his way of escape. The book gained a great international success.
"Between first discovering the Newark Bears and the Brooklyn Dodgers at seven or eight and first looking into Conrad's Lord Jim at age eighteen, I had done some growing up. I am only saying that my discovery of literature, and fiction particularly, and the 'love affair' - to some degree hopeless, but still earnest - that has ensued, derives in part from this childhood infatuation with baseball. Or, more accurately perhaps, baseball - with its lore and legends, its cultural power, its seasonal associations, its native authenticity, its simple rules and transparent strategies, its longueurs and thrills, its spaciousness, its suspensefulness, its heroics, its nuances, its lingo, its 'characters', its peculiarly hypnotic tedium, its mythic transformation of the immediate - was the literature of my boyhood." (Roth in 'My Baseball Years', from Reading Myself and Others, 1975)
Philip Roth was born in Newark, New Jersey, which became the scene for his early novels. His father was an insurance salesman of Austro-Hungarian stock. Later in PATRIMONY (1991) Roth portrayed his eighty-six-year-old father, who suffered from a brain tumor, but who still in his early eighties "had no difficulty convincing the wealthy widows... that he had only just reached seventy".
Roth attended Rutgers University for a year before transferring to Bucknell University. He studied at the University of Chicago, receiving his M.A. in English. In 1955 Roth joined the army, but was discharged after an injury during his basic training period.
Roth continued his studies in Chicago, and worked from 1955 to 1957 as an English teacher. He dropped out of the Ph.D. program in 1959 and started to write film reviews for the New Republic. In the same year appeared Goodbye, Columbus, which won the National Book Award, and was later filmed. Portnoy's Complaint became in 1969 the number one best-seller.
Portnoy's Complaint, Roth's third novel, marked a turning point in the author's career. The inspiration behind Portnoy has been variously attributed to Lenny Bruce's nightclub act. Roth records the intimate confessions of Alexander Portnoy to his psychiatrist. "What I'm saying, Doctor, is that I don't seem to stick my dick up these girls, as much as I stick it up their backgrounds ? as though through fucking I will discover America. Conquer America ? maybe that's more like it. Columbus, Captain Smith, Governor Winthorp, General Washington – now Portnoy." Portnoy goes through his adolescent obsession with masturbation and his relationship with his over-possessive mother, Sophie. "Then came adolescence – half my waking life spent locked behind the bathroom door, firing my wad down the toilet bowl, or into the soiled clothes in the laundry hamper, or splat, up against the medicine-chest mirror, before which I stood in my dropped drawers so I could see how it looked coming out." Portnoy's approach to hedonistic Western culture is ironic. Although he is successful, he knows that his achievements are only temporal. Many readers found the book offensive and pornographic because of its sex scenes. Roth's presentation of the Jewish mother was also criticized.
Jewishness has been Roth's major territory in his examination of the American culture. From Malamud and Bellow, his older colleagues, Roth has differed in a more ironic – sometimes characterized as "less loving" – view of the lives of the Jews. Often the readers have identified the writer himself with the obsessions of his fictional characters, and accused him of sharing their thoughts. "Publishing a book is like taking a suitcase and putting it out in a public place and walking away and leaving it there," Roth has said in an interview. "There is no way a writer can control what happens to his book when it is out in the world." (Mein Leben als Philip Roth, dir. Christa Maerker, 1998, e-Motion-Picture/SWR)
From 1960s Roth has worked at the State University of Iowa, Princeton, the State University of New York, the University of Pennsylvania and elsewhere. Since 1988 he was Distinguished Professor at Hunter College, New York. Roth's several awards include the Guggenheim fellowship (1959), the National Book Award (1960, 1995), the Rockefeller fellowship (1966), the National Book Critics Circle award (1988, 1992), and the PEN/Faulkner Award (1993, 2000). In 1998 Roth received the National Medal of Arts at the White House, and in 2001 he received the highest award of the American Academy of Arts and Letters, the Gold Medal in fiction. In 2011 Roth won the fourth Man Booker International Prize, worth £60,000.
Roth has constantly wrestled with the problem of the identity of the Jewish-American male. THE BREAST (1972) made a humorous allusion to Kafka's famous short story 'Metamorphosis' – Roth's hero, David Kepesh, finds himself transformed into a massive female breast. Kepesh appears also in THE PROFESSOR OF DESIRE (1977), which chronicled his life to the age of 34, and THE DYING ANIMAL (2001), in which he has an affair with his student. "This novel - which takes its title from Yeats's lines, "Consume my heart away; sick with desire / And fastened to a dying animal" – wants to address the big subjects of mortality and the emotional fallout of the 1960s, but after the large social canvas of Mr. Roth's post-war trilogy ("American Pastoral," "I Married a Communist" and "The Human Stain"), it feels curiously flimsy and synthetic." (Michico Kakutani in The New York Times, May 8, 2001) Another veteran character, Nathan Zuckerman, is involved in several love affairs in MY LIFE AS A MAN (1975). He has appeared as the author's mouthpiece in subsequent novels, including I MARRIED A COMMUNIST (1998), set in the1950s. The novels deals with divorce, the cold war, and the McCarthy-era witch hunts. Through Zuckerman Roth has explored the relationship between a fictional character and its creator, or the process of aging, as in the melancholic novel EXIT GHOST (2007).
Sometimes Roth views his own life as a part of his fiction. In THE PLOT AGAINST AMERICA (2004), an alternate history, in which the famous pilot Charles Lindbergh is the 33rd President of the fascist U.S., Philip Roth is one of the characters, suffering from his Jewish background. In OPERATION SHYLOCK (1993) Roth meets a doppelganger, the other Philip Roth, a man, who claims to be the author. A true incident inspired Roth: the novelist Richard Elman had recalled in his book his seduction of a beautiful actress and his upset the next morning when he learns that she thought he was Philip Roth. Elman allowed her to leave unenlightened. Another subject in the book was John Demjanjuk's trial – the man alleged to be Ivan the Terrible of Treblinka. Demjanjuk claimed that he had had a doppelganger, who had committed all the crimes he was accused of and murdered Jews in concentration camps.
Roth's memoir of his family, Patrimony, won the National Critics Circle Award in 1992. A Time reviewer called SABBATH THEATER (1995), about a retired puppeteer, one of the best-written works of 1995. It won the National Book Award. THE HUMAN STAIN (2000) was set in the 1990s at the height of the Clinton sex-scandal. The narrator is Zuckerman who tells about Coleman Silk, the dean of a small college. He is forced to resign after alarming the guardians of politically correct usage. "Does anyone know these people?" he asks about two students who never showed up for class. "Do they exist or are they spooks?" They do, and turn out to be African Americans. And off-campus, with the help of Viagra, Silk starts an affair with an illiterate janitor, Faunia. "Most novelists wouldn't or couldn't handle the variety of elements that Roth does here. Few have his radical imagination and technical mastery. Fewer still have his daring." (R.Z. Sheppard in Time, May 22, 2000) Robert Benton's film version of the book from 2003, starring Anthony Hopkins and Nicole Kidman, was adapted for the screen by Nicholas Meyer.
Roth's first wife was Margaret Martinson Williams; they separated in 1963. In 1990 he married the distinguished Shakespearean actress Claire Bloom – their relationship had already started in the 1970s. The couple divided their time between homes in Connecticut and London. Their neighboring friends in Connecticut included Arthur Miller and William Styron. After they separated Bloom published her memoir Leaving a Doll's House (1996). Her 1982 memoir, Limelight and After, centered on her early years and particularly the collaboration with Chaplin. Bloom has acted in several classic and modern plays, including A Streetcar Named Desire and The Cherry Orchard. Films: Limelight (written and directed by Charles Chaplin, 1952), Look back in Anger (directed by Tony Richardson, play John Osborne, 1959), A Doll's House (as Nora, play Henrik Ibsen, directed by Patrick Garland, 1973), Islands in the Stream (based on Ernest Hemingway's novel, directed by Franklin Schaffner, 1977), Crimes and Misdemeanors (written and directed by Woody Allen, 1989). Television dramas: Brideshead Revisited, Shadowlands, Shadow on the Sun.

[This entry was updated by S. Lillian Kremer (Kansas State University) from her entry in DLB 173: American Novelists Since World War II, Fifth Series, pp. 202-234.]
A major writer of twentieth-century American literature, Philip Roth has produced an impressive body of fiction that has attracted widespread critical commentary. His ideas and his wit range widely. Like the great satirists of the past, Roth is concerned with serious public and private subjects—genocide, war, the foibles of modern democracies, family life, the individual's inner turmoil, and the writer's imagination and craft. His prolific career has been marked by dualities of low comedy and high seriousness, contributing to his reception by critics and readers as both enfant terrible and literary elder statesman. Roth addressed this contradiction in Reading Myself and Others (1975), admitting that one of his "continuing problems" has been "to find the means to be true to these seemingly inimical realms of experience that I am strongly attached to by temperament and training—the aggressive, the crude, and the obscene, at one extreme, and something a good deal more subtle and, in every sense, refined at the other." He cites Philip Rahv's well-known essay "Paleface and Redskin" (Kenyon Review, Summer 1939), which segregated American writers either in the "paleface" mode of Henry James and T.

- يتحدث فيليب روث في هذه الرواية عما يعنيه الموت، الذي يلعب دور البطولة في العمل كله، وعما يخاف منه ويرغب فيه.
- نادراً ما يسمح فيليب روث بإجراء مقابلات معه، وقد اكتشف السر في ذلك سريعاً، وليس مرد صعوبة إجراء المقابلات معه إلى فظاظته أو كآبته ، فكل ما في الأمر أنه لا يطيق الإجابة عن الأسئلة ذاتها مراراً وتكراراً، حيث يستهل اللقاء معه بالتساؤل: «ما الذي تريد أن تسأل عنه؟». وعلى الفور ينتقل الإحساس إلى من يجري الحوار معه بأن الأمر لن يكون سهلاً بحال.
- في رده على اجد الاسئلة يقول " نعم، إنني أخشى أن الموت فظيع. ما ذا عساني أقول خلاف ذلك، إنه يكسر الفؤاد، ويستعصى على التفكير، يستعصى على التصديق. إنه مستحيل.
- وعند سؤاله هل تفكر كثيرا في الموت يرد بقوله " «أجبرت على التفكير فيه طوال الوقت عندما كنت عاكفا على تأليف هذا الكتاب. وأمضيت يومين بكاملهما في مقبرة لأرى كيف يحفرون المدافن. وكنت على امتداد سنوات قد قررت ألا أفكر في الموت أبداً.
- ويقول "لقد رأيت الناس وهم يموتون، بالطبع، رأيت أبواي يموتان، ولكنني لم أعايش الموت باعتباره شيئاً محزناً ومدمراً بلا حدود إلا بعد أن مات صديق طيب لي في ابريل الماضي. وقد كان من أبناء جيلي، ولم يكن في الاتفاق الذي بيني وبينه أنه سيرحل قبلي على هذا النحو، ولم أر الصفحة التي تتضمن ذلك في الاتفاق والأمر كما يقول هنري جيمس على فراش موته: «آه، هو ذا يجيئ ، الأمر الجلل».
- ويقول عن الموت " أخاف من ألا أكون مفعماً بالحياة، ببساطة بالغة أخاف من ألا أشعر بالحياة، من ألا أشمها. ولكن الفارق بين اليوم وبين الخوف من الموت الذي كان لديَّ عندما كنت في الثانية عشرة من العمر هو أنني الآن لديَّ نوع من السكينة حيال الواقع، فلم أعد أشعر بأن من الظلم البالغ أن أرغم على الموت ارغاماً.
- ولد الروائي الأميركي فيليب ميلتون روث في عام 1933 في نيو آرك بولاية نيوجيرسي، وتلقى تعليمه في مدارس نيو آرك العامة وحصل على درجة البكالوريوس من جامعة باكنيل وعلى الماجستير من جامعة شيكاغو ولم يكمل دراسته لنيل درجة الدكتوراه وعمل بتدريس اللغة الانجليزية وفي وقت لاحق بتدريس الكتابة الإبداعية في جامعي أيوا وبرنستون وتقاعد من مهنة التدريس في 1992 ليتفرغ نهائياً للكتابة.
- كان أول كتاب أصدره روث هو «وداعاً كولومبوس».
- تزوج روث في 1990 من الممثلة كلير بلوم التي تخصصت في أداء الأدوار الشكسبيرية .
- رجل منعزل مأخوذ بقصة شخصية لا تنتهي يُلقي عليهضوء الشهرة الأدبية.
- ولد لأسرة من الجيل الثاني من الأمريكيين اليهود في نيويورك- نيوجيرسي. في العام الذي وصل فيه هتلر للسلطة.
- يقيم في كونيتيكت،في عزلة مثيرة للإعجاب، يعمل نهارا وليلا، كرجل كبير وحيد وحساس.
- زوجته مارجريت مارتينسون والتي كان قد انفصل عنها ماتت فيحادث سيارة عام 1968.
- يقول "إن حياة متقدمة بعيدة عنالأهل والأصدقاء ليس لها إلا الوحشة والألم والمعاناة".
- عانى من انهيار عصب عام 1980.
- تزوج مرة اخرى عام 1990 ثم انفصل عام 1996 .
- انضم الى الجيش الامريكي وهو شاب لكنه سرح بسبب اصابته اثناء التدريب الاساسي.
- عانى باستمرار من مشكلة في الهوية كونه يهودي امريكي.


لديه ازمة هوية منذ الطفولة واصيب في التدريبات العسكرية ثم سرح من الجيش. لا يوجد تفاصيل عن علاقته بوالديه، اصيب بانهار عصبي في وقت لاحق وتوصف حياة بالكئيبة وهو يعيش حياة عزلة مما يشير الى انه شخص مأزوم.

مأزوم.

Jacques Austerlitz, the main character in the book, is an architectural historian who encounters and befriends the solitary narrator in Antwerp during the 1960s. Gradually we come to understand his life history. He arrived in Britain during the summer of 1939 as an infant refugee on a kindertransport from a Czechoslovakia threatened by Hitler's Nazis. He was adopted by an elderly WelshCalvinist preacher and his sickly wife, and spent his childhood in Mid Wales before attending a minor public school. His foster parents died, and Austerlitz learned something of his background. After school he attended university and became an academic who is drawn to, and began his research in, the study of European architecture. After a nervous breakdown, Austerlitz visited Prague where he met a close friend of his lost parents. The elderly lady tells him the fate of his mother, an actress and opera singer who was deported to Theresienstadt concentration camp. From Prague, Austerlitz traveled to Theriesenstadt. Here we learn about the disappearance of European Jewry during the Holocaust.
The novel shifts to contemporary Paris as Austerlitz seeks out any remaining evidence about the fate of his father. Sebald explores the ways in which collections of records, such as the Bibliothèque nationale de France or National Library of France, entomb memories. During the novel we have been taken on a guided tour of a lost European civilization: a world of fortresses, railway stations, concentration camps and libraries.

Formally, the novel is notable because of the lack of paragraphing, a digressive style, the blending of fact and fiction, and the inclusion of a set of mysterious and evocative photographs, scattered throughout the book, that enhances the melancholy message of the text. Many of these features characterize Sebald's other works of fiction, including The Emigrants, The Rings of Saturn and Vertigo

و.ج. سيبالد أو وينفرد جورج ماكسيمليان سيبالد (بالإنجليزية: W. G. (Winfred Georg Maximilian) Sebald) كان كاتب وأكاديمي من أصل ألماني.
ولد في (18 مايو1944 في Wertach im Allgäu - وتوفي في 14 ديسمبر 2001 نورفولك ، المملكة المتحدة)
وعند وفاته المبكرة والتي كانت عن عمر 57 عاماً ، كان يعتبره النقاد أحد أكبر الأدباء المعاصرين ، وكانوا يعتبرونه المرشح المستقبلي لنيل جائزة نوبل في الأدب. كان يفضل أن يطلق عليه عائلته وأصدقائه اسم " ماكس" وهو أحد أسمائه الوسطى. بعد الحرب العالمية الثانيةذهب إلى إنجلترا حيث بقي كل حياته

و.ج. سيبالد أو وينفرد جورج ماكسيمليان سيبالد (بالإنجليزية: W. G. (Winfred Georg Maximilian) Sebald) كان كاتب وأكاديمي من أصل ألماني.
ولد في ( 18 مايو 1944 في Wertach im Allgäu - وتوفي في 14 ديسمبر 2001 نورفولك ، المملكة المتحدة)
وعند وفاته المبكرة والتي كانت عن عمر 57 عاماً ، كان يعتبره النقاد أحد أكبر الأدباء المعاصرين ، وكانوا يعتبرونه المرشح المستقبلي لنيل جائزة نوبل في الأدب. كان يفضل أن يطلق عليه عائلته وأصدقائه اسم " ماكس" وهو أحد أسمائه الوسطى. بعد الحرب العالمية الثانيةذهب إلى إنجلترا حيث بقي كل حياته.

سيبالد ..

W. G. (Winfried Georg) Maximilian Sebald (18 May 1944, Wertach im Allgäu – 14 December 2001, Norfolk, England) was a German writer and academic.
ولد عام 1944 في المانيا وتوفي في بريطانيا عام 2001 وعمره 57 سنة
At the time of his death at the age of 57, he was being cited by many literary critics as one of the greatest living authors and had been tipped as a possible future winner of the Nobel Prize in Literature. In a 2007 interview, Horace Engdahl, former secretary of the Swedish Academy, mentioned Sebald, Ryszard Kapuściński and Jacques Derrida as three recently deceased writers who would have been worthy laureates.

Sebald grew up in Wertach, Bavaria, one of four children of Rosa and Georg Sebald.
ولد في بافاريا واحد من اربعة اطفال لابوه جورج وامه روزا
From 1948 to 1963, he lived in Sonthofen.
من عام 1948 وحتى عام 1963 عاش في سنثوفين
His father joined the Reichswehr in 1929 and remained in the Wehrmacht under the Nazis.
انضم والده الى الجيش الالماني في عام 1929 وبقي في ظل النازيين
His father remained a detached figure, a prisoner of war until 1947; a grandfather was the most important male presence in his early years.
والده كان شخصية منعزلة وكان اسير حرب حتى عام 1947 وكان جده هو الشخصية الذكورية المهمة في طفولة الكاتب
Sebald was shown images of the Holocaust while at school in Oberstdorf and recalled that no one knew how to explain what they had just seen. The Holocaust and post-war Germany loom large in his work.
تأثر كثيرا بالمذابح الألمانية وظروف الحرب وما بعد الحرب العالمية الثانية
Sebald studied German literature at the University of Freiburg, where he received a degree in 1965.
درس الأدب الألماني في جامعة فريبيرج
He was a research student at the University of Manchester from 1966 to 1969.
سافر إلى انجلترا من عام 1966
He returned to Germany for a year hoping to work as a teacher but could not settle.
عاد إلى ألمانيا لمدة عما للعمل لكنه لم يتمكن من الاستمرار في العيش هناك فعاد إلى بريطانيا
In 1970 he became a lecturer at the University of East Anglia (UEA). He married Ute in 1967.
تزوج في عام 1967
In 1987 he was appointed to a chair of European literature at UEA. In 1989 he became the founding director of the British Centre for Literary Translation. He lived at Wymondham and Poringland while at UEA.
Sebald died in a car crash near Norwich in December 2001, losing control after suffering a heart attack.
مات عام 2001 في حادث سيارة بعد أن فقد السيطرة لإصابته بجلطة
He was driving with his daughter Anna, who survived the crash. He is buried in St. Andrew's churchyard in Framingham Earl, close to where he lived.

Sebald's works are largely concerned with the theme of memory, both personal and collective. They are, in particular, attempts to reconcile himself with, and deal in literary terms with, the trauma of the Second World War and its effect on the German people.
معظم أعماله تعالج ما أصابه من جراح كنتيجة للحرب العالمية الثانية
In On the Natural History of Destruction (1997), he wrote a major essay on the wartime bombing of German cities and the absence in German writing of any real response. His concern with the Holocaust is expressed in several books delicately tracing his own biographical connections with Jews.
His distinctive and innovative novels were written in German but are well-known in English translations, principally by Anthea Bell and Michael Hulse, which he supervised closely. They include Austerlitz, The Rings of Saturn, The Emigrants and Vertigo. They are notable for their curious and wide-ranging mixture of fact (or apparent fact), recollection and fiction, often punctuated by indistinct black-and-white photographs set in evocative counterpoint to the narrative rather than illustrating it directly. His novels are presented as observations and recollections made while traveling around Europe. They also have a dry and mischievous sense of humour.
Sebald was also the author of three books of poetry: For Years Now with Tess Jaray (2001), After Nature (2002), and Unrecounted (2004).

Irony in the work of W. G. Sebald examined, discarded, examined again


A resident of England for much of his adult life, a professor of European Literature at the University of East Anglia, Sebald was obviously fluent enough, 35 years after arriving in his adopted homeland, to write in English had he wished. His stated reason for not doing so, in an interview given (in English, to the British newspaper The Guardian) mere weeks before his death, at 57, in a car crash, was that “…I become self-conscious about having a funny accent. Unlike Conrad or Nabokov, I didn’t have circumstances which would have coerced me out of my native tongue altogether. But the time may come when my German resources begin to shrink. It is a sore point, because you do have advantages if you have access to more than one language. You also have problems, because on bad days you don’t trust yourself, either in your first or your second language, and so you feel like a complete halfwit.”
That time, of course, never arrived. He did, however, work closely with Michael Hulse and Anthea Bell, translators of his major works into English, and I often have to remind myself that these books were not originally written in English, such is their remarkably limpid prose. Much has been said, or written, about Sebald’s (full name —Winfried Georg Maximilian Sebald, and apparently familiarly known as Max) preoccupation with memory, and rightly so, as memory was a major theme throughout his novels; but that’s not much better than saying about a writer that his preoccupation with writing is a major theme of his writing. Writing is by its nature an investigation of memory, and time, and death, and the infinite assortment of tangents associated with both personal and universal memory (which is to say history).
It is certainly a tragedy that he died so young, after having written and published four remarkable novels, which taken in sum, with their hybrid of fact and fiction, interspersed with enigmatic unlabeled photographs, drawings, and maps, seemed to this reader a radical reinvention of the novel form. Of course, every writer of talent radically reinvents the novel form, but Sebald’s innovations, for whatever reason, resonated with peculiar strength in me.
I was greatly looking forward to whatever Sebald, clearly at the height of his powers with the sublime Austerlitz, would turn his hand to next. I had devoured his three previous novels as well, and though his literary reputation had been steadily growing throughout the late 90s, I was nevertheless surprised and pleased to pass by a local bookstore in mid-December 2001 and find a front-window display of all his books. “At last!” was my first thought. “People are discovering him.” Then a second, more morbid thought, occurred to me, and I bought a newspaper, where my fears were confirmed: on December 14, 2001, Sebald had had a heart attack while driving and crashed somewhere near his permanent exile in Norfolk.
“I find that frightful – the incapacity to know what’s round the corner,” Sebald said in the interview referenced above, the last one he would ever give. For a writer whose use of irony seems inextricable from his concept of humanity, that confession is almost too perfect.

-و.ج. سيبالد أو وينفرد جورج ماكسيمليان سيبالد (بالإنجليزية: W. G. (Winfred Georg Maximilian) Sebald) كان كاتب وأكاديمي من أصل ألماني.
-ولد في (18 مايو1944 في Wertach im Allgäu - وتوفي في 14 ديسمبر 2001 نورفولك ، المملكة المتحدة)
-وعند وفاته المبكرة والتي كانت عن عمر 57 عاماً ، كان يعتبره النقاد أحد أكبر الأدباء المعاصرين ، وكانوا يعتبرونه المرشح المستقبلي لنيل جائزة نوبل في الأدب.
-كان يفضل أن يطلق عليه عائلته وأصدقائه اسم " ماكس" وهو أحد أسمائه الوسطى. بعد الحرب العالمية الثانية ذهب إلى إنجلترا حيث بقي كل حياته
-قرر الإقامة في بريطانيا نهائياً سنة 1966،
-قد تكون "أوسترلتز" Austerlitz، 2001، أهمها، لأنّأسلوبية سيبالد تبدو فيها كاملة الخصائص، لا سيما إصراره على مقاومة فقدان الذاكرةالجَمْعية من خلال استعاداته المزجية لأحداث تاريخية فاصلة، وإشكالية تماماً،واعتماده على الصورة الفوتوغرافية في القصّ، وتنويع السرد، وتوطيد الإستذكار. هذه،أيضاً، الرواية التي ستدشن جاذبية سيبالد، وشعبيته الواسعة، وقدرة نصوصه على الجمعبين حماس النقّاد وإقبال القرّاء.
-يظل الكاتب يكتب بلغته الأم، في بيئته الآمنة، طالما استطاع ذلك وكان ملماً باللغتين الإنجليزية والفرنسية، ولكنه استمر يكتب دائما بلغتهالأصلية. ==
-كان العام 1996 م . . نقطة تحوّل وانطلاقة جديدة ،في حياة الكاتب الألماني و . ج . سيبالد ، حين قام بنشر كتابه ( المهاجرون ) ، بعدترجمته إلى اللغة الإنكليزية . وقد لوحظ على هذا الكتاب أنه مزيجٌ من السيرةالذاتية ، والكتابة التخييلية ، والمذكرات ، و الكتابةالسياحية ، والمقالة الأثرية ، (بورتريهات) لأربعة أوربيين يُقيمون في لندنوالولايات المتحدة الأمريكية .
-معظم كتب سيبالدتدور أحداثها في شمال أوربا ، حيث يبدو أن الأجواء المناخية الكئيبة تعكس المناخالداخلي لشخصياته.
-ولد عام 1944 في المانيا وتوفي في بريطانيا عام 2001 وعمره 57 سنة
-ولد في بافاريا واحد من اربعة اطفال لابوه جورج وامه روزا
- من عام 1948 وحتى عام 1963 عاش في سنثوفين
-انضم والده الى الجيش الالماني في عام 1929 وبقي في ظل النازيين
-والده كان شخصية منعزلة وكان اسير حرب حتى عام 1947 وكان جده هو الشخصية الذكورية المهمة في طفولة الكاتب
-تأثر كثيرا بالمذابح الألمانية وظروف الحرب وما بعد الحرب العالمية الثانية
-درس الأدب الألماني في جامعة فريبيرج
-سافر إلى انجلترا من عام 1966
-عاد إلى ألمانيا لمدة عما للعمل لكنه لم يتمكن من الاستمرار في العيش هناك فعاد إلى بريطانيا
-تزوج في عام 1967
-مات عام 2001 في حادث سيارة بعد أن فقد السيطرة لإصابته بجلطة
-معظم أعماله تعالج ما أصابه من جراح كنتيجة للحرب العالمية الثانية

لا يوجد تفاصيل دقيقة حول طفولته لكن الموت والوحدة سمات متأصلة في أدبه ككل. طبعا من ابرز العوامل المؤثرة في طفولته هي غياب الوالد الجندي في الجيش الألماني والسجين لاحقا مع ولادة الروائي حيث أن المذكور عاش مع جده في طفولته والتي زلزلت بأحداث الحرب العالمية الثانية والتي كرثت فيها المذابح والموت...وانتقل إلى انجلترا عام 1966 وهو في سن 22 واستقر هناك. صحيح ان الموت الذي تسببت فيه الحرب كافيا ليخلق منه كاتبا لكن العنصر الاهم هو غياب والده وعليه سنعتبره يتيم اجتماعي.

يتم اجتماعي.

أولا: بعد دراسة العشرروايات من 90 إلى 100 تبين ما يلي:
91 ـ فنان من العالمالعائم، للمؤلفكازو إيشيجورو.........مأزوم
92 ـ أوسكار ولوسيندا، للمؤلف بيتركاري...................يتيم اجتماعي
93 ـ كتاب الضحكوالنسيان، للمؤلف ميلان كونديرا......مجهول الطفولة.
94 ـ هارون وقصص البحار، للمؤلف سلمان رشدي.......مأزوم
95 ـ الخصوصية، للمؤلف جيمسإيلروي..........يتيم الاب والام
96 ـ أطفال حكماء، للمؤلفة انجيلاكارتر...........يتيمة اجتماعيا
97 ـ التوبة، للمؤلفإيان مكوين.....................يتيم اجتماعي
98 ـ أنوار الشمال، للمؤلففيليب بولمان....................يتيم
99ـ الأميركي الرعوي، للمؤلففيليب روث................مأزوم
100ـ أوسترليتز، للمؤلف دبليوجي.سيبالد........يتيم اجتماعي.

- عدد الأيتام الفعلين في هذه المجموعة 2 فقطوبنسبة 20%
- عدد الأيتام الافتراضين ( يتم اجتماعي ) 4 فقط وبنسبة 40%.

- عدد من كانت حياتهم مأزومة 3 وبنسبة 30%.
- مجموع من كانت حياتهم يتم فعلي+ يتم اجتماعي + مأزومة = 9 وبنسبة 90%.
- عدد مجهولين الطفولة 1 وبنسبة 10%.