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Roald Dahl Norwegian: 13 September 1916 – 23 November 1990) was a British novelist, short story writer, fighter pilot and screenwriter.
كاتب انجليزي ولد عام 1916 وكان طيارا ويكتب سيناريو للافلام
Born in Llandaff, Cardiff, to Norwegian parents, he served in the Royal Air Force during the Second World War, in which he became a flying ace and intelligence agent, rising to the rank of Wing Commander. Dahl rose to prominence in the 1940s with works for both children and adults, and became one of the world's best-selling authors. He has been referred to as "one of the greatest storytellers for children of the 20th century". In 2008 The Times placed Dahl 16th on its list of "The 50 greatest British writers since 1945". His short stories are known for their unexpected endings, and his children's books for their unsentimental, often very dark humour.
Some of his notable works include James and the Giant Peach, Charlie and the Chocolate Factory, George's Marvellous Medicine, Fantastic Mr Fox, Matilda, The Witches, and The Big Friendly Giant.
Early life
Roald Dahl was born at Villa Marie, Fairwater Road in Llandaff, Cardiff, Wales in 1916, to Norwegian parents, Harald Dahl and Sofie Magdalene Dahl (née Hesselberg). Dahl's father had moved from Sarpsborg in Norway and settled in Cardiff in the 1880s. His mother came over to marry his father in 1911. Dahl was named after the polar explorer Roald Amundsen, a national hero in Norway at the time. He spoke Norwegian at home with his parents and sisters, Astri, Alfhild, and Else. Dahl and his sisters were christened at the Norwegian Church, Cardiff, where their parents worshipped. In 1920, when Dahl was three years old, his seven-year-old sister, Astri, died from appendicitis. Weeks later, his father died of pneumonia at the age of 57 while on a fishing trip in the Antarctic.
وعمره 3 سنوات ماتت اخته بالمصران الزايد وكان عمرها سبع سنوات
ومات ابوه بعد اسابيع خلال رلة صيد بسبب الالتهاب الرئوي
With the option of returning to Norway to live with relatives, Dahl's mother decided to remain in Wales because her husband Harald had wished to have their children educated in British schools, which he considered the world's best.
Dahl first attended The Cathedral School, Llandaff. At the age of eight, he and four of his friends (one named Thwaites) were caned by the headmaster after putting a dead mouse in a jar of gobstoppers at the local sweet shop, which was owned by a "mean and loathsome" old woman called Mrs Pratchett. This was known amongst the five boys as the "Great Mouse Plot of 1924".[10]
Thereafter, he transferred to a boarding school in England: Saint Peter's in Weston-super-Mare. Roald's parents had wanted him to be educated at an English public school and, because of a then regular ferry link across the Bristol Channel, this proved to be the nearest. His time at Saint Peter's was an unpleasant experience for him. He was very homesick and wrote to his mother every week, but never revealed to her his unhappiness, being under the pressure of school censorship. Only after her death in 1967 did he find out that she had saved every single one of his letters, in small bundles held together with green tape.[11] Dahl wrote about his time at St. Peter's in his autobiography Boy: Tales of Childhood.[12]
From 1929, he attended Repton School in Derbyshire, where, according to Boy: Tales of Childhood, a friend named Michael was viciously caned by headmaster Geoffrey Fisher, the man who later became the Archbishop of Canterbury and crowned the Queen in 1953. (However, according to Dahl's biographer Jeremy Treglown,[13] the caning took place in May 1933, a year after Fisher had left Repton. The headmaster concerned was in fact J.T. Christie, Fisher's successor.) This caused Dahl to "have doubts about religion and even about God".[14] He was never seen as a particularly talented writer in his school years, with one of his English teachers writing in his school report "I have never met anybody who so persistently writes words meaning the exact opposite of what is intended,"[15] Dahl was exceptionally tall, reaching 6 ft 6 in (1.98 m) in adult life.[16] He excelled at sports, being made captain of the school fives and squash teams, and also playing for the football team.[17] As well as having a passion for literature, he also developed an interest in photography.[18] During his years at Repton, Cadbury, the chocolate company, would occasionally send boxes of new chocolates to the school to be tested by the pupils. Dahl apparently used to dream of inventing a new chocolate bar that would win the praise of Mr. Cadbury himself, and this proved the inspiration for him to write his third book for children, Charlie and the Chocolate Factory (1963) and include references to chocolate in other books for children.[19]
Throughout his childhood and adolescent years, Dahl spent his summer holidays with his mother's family in Norway. His childhood and first job selling kerosene in Midsomer Norton and surrounding villages in Somerset, south West England are subjects in Boy: Tales of Childhood.[20] The main child character in his 1983 book The Witches is a British boy of Norwegian descent, whose grandmother is still living in Norway.[21]
After finishing his schooling, he spent three weeks hiking through Newfoundland with the Public Schools' Exploring Society (now known as BSES Expeditions).[22]
In July 1934, Dahl joined the Shell Petroleum Company. Following two years of training in the United Kingdom, he was transferred to Dar-es-Salaam, Tanganyika (now Tanzania). Along with the only two other Shell employees in the entire territory, he lived in luxury in the Shell House outside Dar-es-Salaam, with a cook and personal servants. While out on assignments supplying oil to customers across Tanganyika, he encountered black mambas and lions, amongst other wildlife.[14]
In August 1939, as World War II loomed, plans were made to round up the hundreds of Germans in Dar-es-Salaam. Dahl was made an officer in the King's African Rifles, commanding a platoon of Askaris, indigenous troops serving in the colonial army.[23]
In November 1939, Dahl joined the Royal Air Force as an Aircraftman. After a 600-mile (970 km) car journey from Dar-es-Salaam to Nairobi, he was accepted for flight training with 16 other men, of whom only two others survived the war. With seven hours and 40 minutes experience in a De Havilland Tiger Moth, he flew solo;[24] Dahl enjoyed watching the wildlife of Kenya during his flights. He continued to advanced flying training in Iraq, at RAF Habbaniya, 50 miles (80 km) west of Baghdad. He was promoted to Leading Aircraftman on 24 August 1940.[25] Following six months' training on Hawker Harts, Dahl was made an Acting Pilot Officer.
He was assigned to No. 80 Squadron RAF, flying obsolete Gloster Gladiators, the last biplane fighter aircraft used by the RAF. Dahl was surprised to find that he would not receive any specialised training in aerial combat, or in flying Gladiators. On 19 September 1940, Dahl was ordered to fly his Gladiator from Abu Sueir in Egypt, on to Amiriya to refuel, and again to Fouka in Libya for a second refuelling. From there he would fly to 80 Squadron's forward airstrip 30 miles (48 km) south of Mersa Matruh. On the final leg, he could not find the airstrip and, running low on fuel and with night approaching, he was forced to attempt a landing in the desert. The undercarriage hit a boulder and the aircraft crashed, fracturing his skull, smashing his nose, and temporarily blinding him.[26] He managed to drag himself away from the blazing wreckage and passed out. Later, he wrote about the crash for his first published work.[26]
Dahl was rescued and taken to a first-aid post in Mersa Matruh, where he regained consciousness, but not his sight, and was then taken by train to the Royal Navy hospital in Alexandria. There he fell in and out of love with a nurse, Mary Welland. An RAF inquiry into the crash revealed that the location to which he had been told to fly was completely wrong, and he had mistakenly been sent instead to the no man's land between the Allied and Italian forces.[27]
In February 1941, Dahl was discharged from hospital and passed fully fit for flying duties. By this time, 80 Squadron had been transferred to the Greek campaign and based at Eleusina, near Athens. The squadron was now equipped with Hawker Hurricanes. Dahl flew a replacement Hurricane across the Mediterranean Sea in April 1941, after seven hours flying Hurricanes. By this stage in the Greek campaign, the RAF had only 18 combat aircraft in Greece: 14 Hurricanes and four Bristol Blenheim light bombers. Dahl saw his first aerial combat on 15 April 1941, while flying alone over the city of Chalcis. He attacked six Junkers Ju-88s that were bombing ships and shot one down. On 16 April in another air battle, he shot down another Ju-88.[28]
On 20 April 1941, Dahl took part in the "Battle of Athens", alongside the highest-scoring British Commonwealth ace of World War II, Pat Pattle and Dahl's friend David Coke. Of 12 Hurricanes involved, five were shot down and four of their pilots killed, including Pattle. Greek observers on the ground counted 22 German aircraft downed, but because of the confusion of the aerial engagement, none of the pilots knew which plane they had shot down. Dahl described it as "an endless blur of enemy fighters whizzing towards me from every side".[29]
In May, as the Germans were pressing on Athens, Dahl was evacuated to Egypt. His squadron was reassembled in Haifa. From there, Dahl flew sorties every day for a period of four weeks, shooting down a Vichy French Air Force Potez 63 on 8 June and another Ju-88 on 15 June, but he then began to get severe headaches that caused him to black out. He was invalided home to Britain. Though at this time Dahl was only an Acting Pilot Officer, in September 1941 he was simultaneously confirmed as a Pilot Officer and promoted to Flying Officer.[30]
Dahl began writing in 1942, after he was transferred to Washington, D.C. as Assistant Air Attaché. His first published work, in 1 August 1942 issue of The Saturday Evening Post, was "Shot Down Over Libya" which described the crash of his Gloster Gladiator. C. S. Forester had asked Dahl to write down some RAF anecdotes so that he could shape them into a story. After Forester read what Dahl had given him, he decided to publish the story exactly as Dahl had written it. The original title of the article was "A Piece of Cake" but the title was changed to sound more dramatic, despite the fact that he was not actually shot down.[27]
Dahl was promoted to Flight Lieutenant in August 1942.[31] During the war, Forester worked for the British Information Service and was writing propaganda for the Allied cause, mainly for American consumption.[32] This work introduced Dahl to espionage and the activities of the Canadian spymaster William Stephenson, known by the codename "Intrepid".[33]
During the war, Dahl supplied intelligence from Washington to Stephenson and his organisation known as British Security Coordination, which was part of MI6. He was revealed in the 1980s to have been serving to help promote Britain's interests and message in the United States and to combat the "America First" movement, working with such other well known agents as Ian Fleming and David Ogilvy.[34] Dahl was once sent back to Britain by British Embassy officials, supposedly for misconduct – "I got booted out by the big boys," he said. Stephenson promptly sent him back to Washington—with a promotion to Wing Commander.[35] Towards the end of the war, Dahl wrote some of the history of the secret organisation and he and Stephenson remained friends for decades after the war.[36]
Upon the war's conclusion, Dahl held the rank of a temporary Wing Commander (substantive Flight Lieutenant). Owing to his accident in 1940 having left him with excruciating headaches while flying, in August 1946 he was invalided out of the RAF. He left the service with the substantive rank of Squadron Leader.[37] His record of five aerial victories, qualifying him as a flying ace, has been confirmed by post-war research and cross-referenced in Axis records, although it is most likely that he scored more than that during 20 April 1941 when 22 German aircraft were shot down.[38]

12-15-2011, 10:40 PM

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Postwar life
Dahl married American actress Patricia Neal on 2 July 1953 at Trinity Church in New York City. Their marriage lasted for 30 years and they had five children: Olivia, Tessa, Theo, Ophelia, and Lucy.[39]
On 5 December 1960, four-month-old Theo Dahl was severely injured when his baby carriage was struck by a taxicab in New York City. For a time, he suffered from hydrocephalus, and as a result, his father became involved in the development of what became known as the "Wade-Dahl-Till" (or WDT) valve, a device to alleviate the condition.[40][41]
In November 1962, Olivia Dahl died of measles encephalitis at age seven. Dahl subsequently became a proponent of immunisation[42] and dedicated his 1982 book The BFG to his daughter.[43]
In 1965, wife Patricia Neal suffered three burst cerebral aneurysms while pregnant with their fifth child, Lucy; Dahl took control of her rehabilitation and she eventually relearned to talk and walk, and even returned to her acting career,[44] an episode in their lives which was dramatised in the film 'The Patricia Neal Story', in which the couple were played by Glenda Jackson and Dirk Bogarde.
Dahl married Felicity "Liccy" Crosland at Brixton Town Hall, South London, following a divorce from Neal in 1983. Dahl and Crosland had previously been in a relationship.[45] According to biographer Donald Sturrock, Liccy gave up her job and moved into 'Gipsy House', Great Missenden, which had been Dahl's home since 1954.[46]
In 1983, Dahl was quoted as saying: "There's a trait in the Jewish character that does provoke animosity ... I mean there is always a reason why anti-anything crops up anywhere; even a stinker like Hitler didn't just pick on them for no reason."[47] Dahl stated that he was anti-Israel rather than anti-Semitic, and he maintained friendships with a number of Jews, including philosopher Isaiah Berlin, who said, "I thought he might say anything. Could have been pro-Arab or pro-Jew. There was no consistent line."[47]
Dahl is the father of author Tessa Dahl, and grandfather of author, cookbook writer, and former model Sophie Dahl (after whom Sophie in The BFG is named[48]).
Death and legacy
Roald Dahl died on 23 November 1990, at the age of 74 of a blood disease, myelodysplastic syndrome, in Oxford and was buried in the cemetery at St. Peter and St. Paul's Church in Great Missenden, Buckinghamshire, England.
مات وهو في الرابعة والسبعين عام 1990
According to his granddaughter, the family gave him a "sort of Viking funeral". He was buried with his snooker cues, some very good burgundy, chocolates, HB pencils and a power saw. In his honour, the Roald Dahl Children's Gallery was opened in November 1996, at the Buckinghamshire County Museum in nearby Aylesbury.[50]
In 2002, one of Cardiff Bay's modern landmarks, the historic Oval Basin plaza, was re-christened "Roald Dahl Plass". "Plass" means "place" or "square" in Norwegian, referring to the acclaimed late writer's Norwegian roots. There have also been calls from the public for a permanent statue of him to be erected in the city.[51]
Dahl's charitable commitments in the fields of neurology, haematology and literacy have been continued by his widow since his death, through Roald Dahl's Marvellous Children's Charity, formerly known as the Roald Dahl Foundation.[52][53] In June 2005, the Roald Dahl Museum and Story Centre opened in Great Missenden to celebrate the work of Roald Dahl and advance his work in literacy education.[54][55]
In 2008, the UK charity Booktrust and Children's Laureate Michael Rosen inaugurated The Roald Dahl Funny Prize, an annual award to authors of humorous children's fiction.[56][57] On 14 September 2009 (the day after what would have been Dahl's 93rd birthday) the first blue plaque in his honour was unveiled in Llandaff, Cardiff, Wales.[58] Rather than commemorating his place of birth, however, the plaque was erected on the wall of the former sweet shop (and site of "The Great Mouse Plot of 1924") that features in the first part of his autobiography Boy. It was unveiled by his widow Felicity and son Theo.[58]
In honour of Roald Dahl, Gibraltar Post issued a set of four stamps in 2010 featuring Quentin Blake's original illustrations for four of the children's books written by Dahl during his long career; The BFG, The Twits, Charlie and the Chocolate Factory and Matilda.[59] Dahl's influence has extended beyond literary figures, and he connected with film director Tim Burton with his "mixture of light and darkness, and not speaking down to kids, and the kind of politically incorrect humour that kids get".[60] Regarded as "one of the greatest storytellers for children of the 20th century",[5] Dahl was listed as one of the greatest British writers since 1945.[6] He ranks amongst the world's best-selling fiction authors with sales estimated at over 100 million,[3][4] and his books have been published in almost 50 languages.[61] In 2003, the UK survey entitled The Big Read carried out by the BBC in order to find the "nation's best loved novel" of all time, four of Dahl's books were named in the Top 100, with only works by Charles Dickens and Terry Pratchett featuring more.[62]
The anniversary of Dahl's birthday on 13 September is celebrated as "Roald Dahl Day" in Africa, the United Kingdom, and Latin America.[61][63][64]
Writing
Roald Dahl's story "The Devious Bachelor" was illustrated by Frederick Siebel when it was published in Collier's (September 1953).
Dahl's first published work, inspired by a meeting with C. S. Forester, was "A Piece Of Cake" on 1 August 1942. The story, about his wartime adventures, was bought by The Saturday Evening Post for US$1000 (a substantial sum in 1942) and published under the title "Shot Down Over Libya".[65]
His first children's book was The Gremlins, about mischievous little creatures that were part of RAF folklore.[66] All the RAF pilots blamed the gremlins for all the problems with the plane. The book, which First Lady of the US Eleanor Roosevelt read to her grandchildren,[66] was commissioned by Walt Disney for a film that was never made, and published in 1943. Dahl went on to create some of the best-loved children's stories of the 20th century, such as Charlie and the Chocolate Factory, Matilda, James and the Giant Peach, The Witches, Charlie and the Great Glass Elevator, The BFG, George's Marvellous Medicine and Fantastic Mr Fox.
Dahl also had a successful parallel career as the writer of macabre adult short stories, usually with a dark sense of humour and a surprise ending.[67] The Mystery Writers of America presented Dahl with three Edgar Awards for his work, and many were originally written for American magazines such as Collier's, Ladies Home Journal, Harper's, Playboy and The New Yorker. Works such as Kiss Kiss subsequently collected Dahl's stories into anthologies, gaining worldwide acclaim. Dahl wrote more than 60 short stories; they have appeared in numerous collections, some only being published in book form after his death (See List of Roald Dahl short stories). His three Edgar Awards were given for: in 1954, the collection Someone Like You; in 1959, the story "The Landlady"; and in 1980, the episode of Tales of the Unexpected based on "Skin".[67]
One of his more famous adult stories, "The Smoker" (also known as "Man From the South"), was filmed twice as both 1960 and 1985 episodes of Alfred Hitchcock Presents, and also adapted into Quentin Tarantino's segment of the 1995 film Four Rooms.[68] This oft-anthologised classic concerns a man in Jamaica who wagers with visitors in an attempt to claim the fingers from their hands. The 1960 Hitchcock version stars Steve McQueen and Peter Lorre.[68]
His short story collection Tales of the Unexpected was adapted to a successful TV series of the same name, beginning with "Man From the South".[69] When the stock of Dahl's own original stories was exhausted, the series continued by adapting stories by authors that were written in Dahl's style, including the writers John Collier and Stanley Ellin.
He acquired a traditional Romanichal Gypsy wagon in the 1960s, and the family used it as a playhouse for his children. He later used the vardo as a writing room, where he wrote the book Danny, the Champion of the World.[70]
A number of his short stories are supposed to be extracts from the diary of his (fictional) Uncle Oswald, a rich gentleman whose sexual exploits form the subject of these stories.[71] In his novel My Uncle Oswald, the uncle engages a temptress to seduce 20th century geniuses and royalty with a love potion secretly added to chocolate truffles made by Dahl's favourite chocolate shop, Prestat of Piccadilly.[71]
Memories with Food at Gipsy House, written with his wife Felicity and published posthumously in 1991, was a mixture of recipes, family reminiscences and Dahl's musings on favourite subjects such as chocolate, onions, and claret.[52][72]
[edit] Children's fiction
Dahl's children's works are usually told from the point of view of a child. They typically involve adult villains who hate and mistreat children, and feature at least one "good" adult to counteract the villain(s). These stock characters are possibly a reference to the abuse that Dahl stated that he experienced in the boarding schools he attended.[5] They usually contain a lot of black humour and grotesque scenarios, including gruesome violence. The Witches, George's Marvellous Medicine and Matilda are examples of this formula. The BFG follows it in a more analogous way with the good giant (the BFG or "Big Friendly Giant") representing the "good adult" archetype and the other giants being the "bad adults". This formula is also somewhat evident in Dahl's film script for Chitty Chitty Bang Bang. Class-conscious themes – ranging from the thinly veiled to the blatant – also surface in works such as Fantastic Mr Fox and Danny, the Champion of the World.
Dahl also features in his books characters who are very fat, usually children. Augustus Gloop, Bruce Bogtrotter, and Bruno Jenkins are a few of these characters, although an enormous woman named Aunt Sponge is featured in James and the Giant Peach and the nasty farmer Boggis in Fantastic Mr Fox is an enormously fat character. All of these characters (with the possible exception of Bruce Bogtrotter) are either villains or simply unpleasant gluttons. They are usually punished for this: Augustus Gloop drinks from Willy Wonka's chocolate river, disregarding the adults who tell him not to, and falls in, getting sucked up a pipe and nearly being turned into fudge. Bruce Bogtrotter steals cake from the evil headmistress, Miss Trunchbull, and is forced to eat a gigantic chocolate cake in front of the school. Bruno Jenkins is turned into a mouse by witches who lure him to their convention with the promise of chocolate, and, it is speculated, possibly disowned or even killed by his parents because of this. Aunt Sponge is flattened by a giant peach. Dahl's mother used to tell him and his sisters tales about trolls and other mythical Norwegian creatures and some of his children's books contain references or elements inspired by these stories, such as the giants in The BFG, the fox family in Fantastic Mr Fox and the trolls in The Minpins.
In his poetry, Dahl gives a humorous re-interpretation of well-known nursery rhymes and fairy tales, providing surprise endings in place of the traditional happily-ever-after. Dahl's collection of poems Revolting Rhymes is recorded in audio book form, and narrated by actor Alan Cumming.[73]

12-16-2011, 02:50 PM

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بريمو ليفي

- كاتب وكيميائي يهودي ايطالي ول عام 1919

- كتب روايتين وبعض القصص القصيرة والمقالات ولكنه معروف اكثر شيئ بكتابه "هل هذا رجل"وهو عبارة عن تسجيل لما جرى معه اثناء سجنه في المعسكرات النازية وكان غير متدين
- والده كان يعمل مع شركة وكان اغلب وقته في هنغاريا حيث مقر الشركة
- له اخت ولدت عام 1921 وهي التي ظلت قريبه منه طوال حياته
- في المدرسة كان طفلا غضا خجول وكان يعتقد انه بشع المنظر لكنه ابدع في الدراسة
- كان يغيب لفترات طويلة ع المدرسة وكان يدرس في المنزل من قبل مدرسات
- في الصيف كان يقضي وقته مع امه في مزرعة كان تستأجرها امه في وادي كان يقع الى الجنوب الغربي من مقر سكن العائلة
- في عام 1930 انضم الى نادي الجنباز الملكي وكان اصغر فرد فيه واقصر شخص وانشط شخص
- تخرج من المدرسة عام 1937 واتهم انه تجاهل طلب الانضمام للبحرية الايطالية الملكية قبل اسبوع من انهاء المدرسة
- في العام 1940 بدأت الحرب العالمية الثانية وتعرض العائلة لنكسة بع ان اصاب الوالد مرض السرطان
- بسسب القوانين التي سنت في ايطاليا ضد اليهود وجد صعوبة في ايجاد مشرف على دراسة المتعلقة بذرة الكربون
- عمل في مناجم باوراق مزيفه وتحت اسم مزيف لان المصانع كانت تخدم النازيين
- في عام 1942 مات والده
- في العام 1942 غادر المنجم وسافر للعمل في ميلان
- في العام 1943 هرب مع امه واخته من ملاحقة النازيين الى سوسيرا
- تم اعتقاله من قبل المليشيا الفاشية
- وقع في ايدي النازيين ونقل سكان المعسكر عام 1944 الى المالنيا وكان رقمه في معسكر الاحتجاز 174517
- قضى لفي12 شهر في المعسكر قبل ان يتم تحريره من قل الجيش الاحمر عام 1945
- من بين ال 650 سجين كان هو واحد من ين عشرين من الناجين
- كان قد مرض وهو في المعسكر بالحمى القرمزية
- قضى بعض الوقت بعد تحريره في معسكر روسي ثم عاد الى وطنه وكان قد مر خلال عودته في بولندا زاكرانيا وهنغاريا والنمسا والمانيا
- عندما عاد كاد ان تختفي ملامحة من شدة سوء التغذية التي تعرض لها
- تركت الظروف التي مر بها اثرها عليه وكان يعاني نفسيا
- موت زميل له في المعسكر الذي كان يقدم له بعضا من طعامه اثر فيه كثيرا في عام 1948
- مات عام 1987 بعد ان سقط من الطابق الثالث من شقته في ايطاليا الى الطابق الارضي
- عند موته قال ايلي ويزل ان بريمو ليفي مات في معسكر الاحتجاز النازي قبل ذلك باربعين عاما
- كل الادلة تشير الى ان موته كان انتحارا
- في اخر سنوات حياته كان يعاني من الكآبة
- هناك من يرى بأن موته كان حادثا
في المدرسة كان طفلا غضا، بشعا، وكان الوالد غائبا في دولة اخرى، وكان يعاني من العنصرية مما جعله يتغيب عن المدرسة لفترات طويلة تلى خلالها دروس خصوصية ، اصيب والده بالسرطان وهو في سن واحد وعشرين ثم مات ابوه وهو في سن 23، عانى الكثير من الاضطهاد الفاشي والنازي ، ثم سجن من قبل الفشيين ورحل من قبل النازيين ليسجن في معسكرات الاعتقال ومات معظم من كان معه في المعسكر وكان واحد من 20 شخص بقوا على قيد الحياة. عانى من ويلات الحرب والسجن والحجز وظل اثر ذلك عليه واضحا الى ان انتحر عام 1987 كما يعتقد البعض وعندما مات قال عنه اصحد اصدقاؤه انه كان قد مات قبل موته الحقيقي باربعين عاما في معسكرات الاعتقال لشدة ما عانى.

مأزوم ويتيم اجتماعي

12-16-2011, 10:01 PM

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والان مع سر الروعة في رواية :

90 ـ المال، للمؤلفمارتنإميس.

Money: A Suicide Note is a 1984 novel by Martin Amis. Time magazine included the novel in its "100 best English-language novels from 1923 to the present".[
Plot summary
Money tells the story of, and is narrated by, John Self, a successful director of commercials who is invited to New York by Fielding Goodney, a film producer, to shoot his first film. Self is an archetypal hedonist and slob; he is usually drunk, an avid consumer of pornography and prostitutes, eats too much and, above all, spends too much, encouraged by Goodney.
The actors in the film, which Self originally titles Good Money but which he eventually wants to re-name Bad Money, all have some kind of emotional issue which clashes with fellow cast members and with the parts they've signed on for - the principal casting having already been done by Goodney. For example: the strict Christian, Spunk Davis (whose name is intentionally unfortunate), is asked to play a drugs pusher; the ageing hardman Lorne Guyland has to be beaten up; the motherly Caduta Massi, who is insecure about her body, is asked to appear in a sex scene with Lorne, whom she detests, and so on.
Self is stalked by "Frank the Phone" while in New York, a menacing misfit who threatens him over a series of telephone conversations, apparently because Self personifies the success Frank was unable to attain. Self is not frightened of Frank, even when he is beaten by him while on an alcoholic bender. (Self, characteristically, is unable to remember how he was attacked.) Towards the end of the book Self arranges to meet Frank for a showdown, which is the beginning of the novel's shocking denouement; Money is similar to Amis' five-years-later London Fields, in having a major plot twist.
Self returns to London before filming begins, revealing more of his humble origins, his landlord father Barry (who makes his contempt for his son clear by invoicing him for every penny spent on his upbringing) and pub doorman Fat Vince. Self discovers that his London girlfriend, Selina, is having an affair with Ossie Twain, while Self is likewise attracted to Twain's wife in New York, Martina. This increases Self's psychosis and makes his final downfall even more brutal.
After Selina has plotted to destroy any chance of a relationship between him and Martina, Self discovers that all his credit cards have been blocked and, after confronting Frank, the stars of film angrily claim that there is no film. It is revealed that Goodney had been manipulating him - all the contracts signed by Self were loans and debts, and Goodney fabricated the entire film. He is also revealed to be Frank and responsible for the visions of Self's mother. He supposedly chose Self for his behaviour on the first plane to America, where Goodney was sitting close to him. The New York bellhop, Felix, helps him escape the angry mob in the hotel lobby and fly back to England, only to discover that Barry is not Self's real father.
There are some hilarious set pieces, such as when Self wakes to find he has skipped an entire day in his inebriated state, the tennis match and the attempts to change Spunk's screen name. The writing is also full of witty one-liners and silly names for consumer goods, such as Self's car, the Fiasco, and the Blastfurters which he snacks on.
Amis writes himself into the novel as a kind of overseer and confidant in Self's final breakdown. He is an arrogant character, but Self is not afraid to express his rather low opinion of Amis, such as the fact that he earns so much yet "lives like a student." Amis, among others, tries to warn Self that he is heading for destruction but to no avail. Felix becomes Self's only real friend in America and finally makes Self realise the trouble he is in: "Man, you are out for a whole lot of money."
The novel's subtitle, "A Suicide Note", is clarified at the end of the novel. It is revealed that Barry Self is not John Self's father; his father is in fact Fat Vince. As such, John Self no longer exists. Hence, in the subtitle, Amis indicates that this cessation of John Self's existence is analogous to suicide, which of course, results in the death of the self. A Suicide Note could also relate to the novel as a whole, or money, which Self himself calls suicide notes within the novel.
After learning that his father is Fat Vince, John realises that his true identity is that of Fat John, half-brother of Fat Paul. The novel ends with Fat John having lost all his money (if it ever existed), yet he is still able to laugh at himself and is cautiously optimistic about his future.
Background
The novel is derived in part from Amis's experience working on the film Saturn 3, of which he was scriptwriter. The character of Lorne Guyland was based on the star of the film, Kirk Douglas. (His name is a play on the way the place-name "Long Island", where the character lives, is pronounced in certain New York-area accents.). Amis said of his work that "Money makes a break from the English tradition of sending a foreigner abroad in that (a) John Self is half American, and (b) as a consequence cannot he scandalized by America. You know the usual Pooterish Englishman who goes abroad in English novels and is taken aback by everything. Well, not a bit of that in John Self. He completely accepts America on its own terms and is perfectly at home with it."[
In 2010, Time Magazine called Amis' book "the best celebrity novel I know: the stars who demand and wheedle their way across his plot seem less like caricature and more like photorealism every year."
2010 BBC television adaptation
On November 11, 2009, The Guardian reported that the BBC has adapted Money for television as part of their early 2010 schedule for BBC 2.[6] The programme was shown in May 2010. Spaced/Shaun of the Dead/Hot Fuzz actor Nick Frost played John Self,[7] and Vincent Kartheiser portrayed Fielding Goodney. Emma Pierson played Selina Street,[8] and Jerry Hall played Caduta Massi. The adaptation, by Tom Butterworth and Chris Hurford, was in two parts.

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مارتنإميس.

Martin Louis Amis (born 25 August 1949) is a British novelist, the author of many novels including Money (1984) and London Fields (1989). He is currently Professor of Creative Writing at the Centre for New Writing at the University of Manchester, but will step down at the end of the 2010/11 academic year. The Times named him in 2008 as one of the 50 greatest British writers since 1945.
روائي بريطاني ولد عام 1949 يعمل حاليا دكتور للكتابة الابداعية في جامعة مانشستر
Amis's raw material is what he sees as the absurdity of the postmodern condition and the excesses of late-capitalist Western society with its grotesque caricatures. He has thus been portrayed as the undisputed master of what The New York Times called "the new unpleasantness." Influenced by Saul Bellow, Vladimir Nabokov, and James Joyce, as well as by his father Sir Kingsley Amis, he has inspired a generation of writers with his distinctive style, including Will Self and Zadie Smith The Guardian writes that his critics have noted what Kingsley Amis called a "terrible compulsive vividness in his style ... that constant demonstrating of his command of English," and that the "Amis-ness of Amis will be recognisable in any piece before he reaches his first full stop."
Early life
Amis was born in Swansea, South Wales His father, Sir Kingsley Amis, was the son of a mustard manufacturer's clerk from Clapham; his mother, Hilary Bardwell (Hilly), was the daughter of a Ministry of Agriculture civil servant. He has an older brother, Philip, and his younger sister, Sally, died in 2000. His parents divorced when he was twelve.
انفصل واليده بالطلاق وهو في سن الثانية عشره
He attended a number of schools in the 1950s and 1960s—including the Bishop Gore School ( Swansea Grammar School), and Cambridgeshire High School for Boys—where he was described by one headmaster as "unusually unpromising." The acclaim that followed his father's first novel Lucky Jim sent the family to Princeton, New Jersey, where his father lectured. This was Martin's introduction to the United States.
In 1965, at age 15, he played John Thornton in the film version of Richard Hughes' A High Wind in Jamaica.
He read nothing but comic books until his stepmother, the novelist Elizabeth Jane Howard, introduced him to Jane Austen, whom he often names as his earliest influence. After teenage years spent in flowery shirts and a short spell at Westminster School while living in Hampstead, he graduated from Exeter College, Oxford with a "Congratulatory" First in English – "the sort where you are called in for a viva and the examiners tell you how much they enjoyed reading your papers." After Oxford, he found an entry-level job at The Times Literary Supplement, and at age 27 became literary editor of The New Statesman, where he met Christopher Hitchens, then a feature writer for The Observer, who remains a close friend.
Early writing
According to Martin, Kingsley Amis famously showed no interest in his son's work. "I can point out the exact place where he stopped and sent Money twirling through the air; that's where the character named Martin Amis comes in." "Breaking the rules, buggering about with the reader, drawing attention to himself," Kingsley complained.
His first novel The Rachel Papers (1973) won the Somerset Maugham Award. The most traditional of his novels, made into an unsuccessful cult film, it tells the story of a bright, egotistical teenager (which Amis acknowledges as autobiographical) and his relationship with the eponymous girlfriend in the year before going to university.
He also wrote the screenplay for the film Saturn 3, an experience which he was to draw on for his fifth novel Money.
Dead Babies (1975), more flippant in tone, chronicles a few days in the lives of some friends who convene in a country house to take drugs. A number of Amis's characteristics show up here for the first time: mordant black humour, obsession with the zeitgeist, authorial intervention, a character subjected to sadistically humorous misfortunes and humiliations, and a defiant casualness ("my attitude has been, I don't know much about science, but I know what I like"). A film adaptation was made in 2000.
Success (1977) told the story of two foster-brothers, Gregory Riding and Terry Service, and their rising and falling fortunes. This was the first example of Amis's fondness for symbolically 'pairing' characters in his novels, which has been a recurrent feature in his fiction since (Martin Amis and Martina Twain in Money, Richard Tull and Gwyn Barry in The Information, and Jennifer Rockwell and Mike Hoolihan in Night Train).
Other People: A Mystery Story (1981), about a young woman coming out of a coma, was a transitional novel in that it was the first of Amis's to show authorial intervention in the narrative voice, and highly artificed language in the heroine's descriptions of everyday objects, which was said to be influenced by his contemporary Craig Raine's 'Martian' school of poetry.
Main career
1980s and 1990s
Amis's best-known novels are Money, London Fields, and The Information, commonly referred to as his "London Trilogy."[6] Although the books share little in terms of plot and narrative, they all examine the lives of middle-aged men, exploring the sordid, debauched, and post-apocalyptic undercurrents of life in late 20th-century Britain. Amis's London protagonists are anti-heroes: they engage in questionable behaviour, are passionate iconoclasts, and strive to escape the apparent banality and futility of their lives.
London Fields (1989), Amis's longest work, describes the encounters between three main characters in London in 1999, as a climate disaster approaches. The characters have typically Amisian names and broad caricatured qualities: Keith Talent, the lower-class crook with a passion for darts; Nicola Six, a femme fatale who is determined to be murdered; and upper-middle-class Guy Clinch, 'the fool, the foil, the poor foal' who is destined to come between the other two. The book was controversially omitted from the Booker Prize shortlist in 1989, because two panel members, Maggie Gee and Helen McNeil, disliked Amis's treatment of his women characters. "It was an incredible row," Martyn Goff, the Booker's director, told The Independent. "Maggie and Helen felt that Amis treated women appallingly in the book. That is not to say they thought books which treated women badly couldn't be good, they simply felt that the author should make it clear he didn't favour or bless that sort of treatment. Really, there was only two of them and they should have been outnumbered as the other three were in agreement, but such was the sheer force of their argument and passion that they won. David [Lodge] has told me he regrets it to this day, he feels he failed somehow by not saying, `It's two against three, Martin's on the list'."
Amis's 1991 offering, the short novel Time's Arrow, was shortlisted for the Man Booker Prize. Notable for its unique, backwards narrative - including dialogue in reverse - the novel is the autobiography of a Nazi concentration camp doctor. The unique reversal of time in the novel seemingly transforms Auschwitz - and the entire theatre of war - into a place of joy, healing, and resurrection.
The Information (1995) was notable not so much for its critical success, but for the scandals surrounding its publication. The enormous advance (an alleged £500,000) demanded and subsequently obtained by Amis for the novel attracted what the author described as "an Eisteddfod of hostility" from writers and critics after he abandoned his long-serving agent, the late Pat Kavanagh, in order to be represented by the Harvard-educated Andrew "The Jackal" Wylie.[12] The split was by no means amicable; it created a rift between Amis and his long-time friend, Julian Barnes, who was married to Kavanagh. According to Amis's autobiography Experience (2000), he and Barnes had not resolved their differences.[13] The Information itself deals with the relationship between a pair of British writers of fiction. One, a spectacularly successful purveyor of "airport novels," is envied by his friend, an equally unsuccessful writer of philosophical and generally abstruse prose. The novel is written in the author's classic style: characters appearing as stereotyped caricatures, grotesque elaborations on the wickedness of middle age, and a general air of post-apocalyptic malaise.
Amis's 1997 offering, the short novel Night Train, is unique in that it is the first of Amis' books to use a female protagonist. Narrated by the mannish American Detective Mike Hoolihan, the story revolves around the suicide of her boss's teenage daughter. Like most of Amis's work, Night Train is dark, bleak, and foreboding, arguably a reflection of the author's views on America. Amis's distinctively American vernacular in the narrative was criticized by, among others, John Updike, although the novel found defenders elsewhere, notably in Janis Bellow, wife of Amis's sometime mentor and friend, the late Saul Bellow.[14]
2000s
The 2000s were Amis's least productive decade in terms of full-length fiction since starting in the nineteen-seventies (two novels in ten years), while his non-fiction work saw a dramatic uptick in volume (three published works including a memoir, a hybrid of semi-memoir and amateur political history, and another journalism collection).
In the year 2000 Amis published a memoir titled Experience. Largely concerned with the strange relationship between the author and his father, the novelist Kingsley Amis, the autobiography nevertheless deals with many facets of Amis's life. Of particular note is Amis's reunion with his daughter, Delilah Seale, resulting from an affair in the 1970s, whom he did not see until she was 19. Amis also discusses, at some length, the murder of his cousin Lucy Partington by Fred West when she was 21. The book was awarded the James Tait Black Memorial Prize for biography.
In 2002 Amis published Koba the Dread, a devastating history of the crimes of Vladimir Lenin and Joseph Stalin, and their denial by many writers and academics in the West. The book precipitated a literary controversy for its approach to the material, and for its attack on Amis's long-time friend, Christopher Hitchens. Once (but no longer) a passionate and committed leftist, Hitchens' alleged sympathy for Stalin and communism was criticized by Amis. Although Hitchens wrote a vituperative response to the book in The Atlantic, his friendship with Amis appears to have emerged unchanged: in response to a reporter's question, Amis responded "We never needed to make up. We had an adult exchange of views, mostly in print, and that was that (or, more exactly, that goes on being that). My friendship with the Hitch has always been perfectly cloudless. It is a love whose month is ever May."[15]
In 2003, Yellow Dog, Amis's first novel in six years, was published. The novel drew mixed reviews, and was most notably denounced by the novelist Tibor Fischer: "Yellow Dog isn't bad as in not very good or slightly disappointing. It's not-knowing-where-to-look bad. I was reading my copy on the Tube and I was terrified someone would look over my shoulder… It's like your favourite uncle being caught in a school playground, masturbating."[16] Elsewhere, the book received mixed reviews, with some critics proclaiming the novel a return to form, but most considered the book to be a great disappointment.[citation needed] Amis was unrepentant about the novel and its reaction, calling Yellow Dog "among my best three". He gave his own explanation for the novel's critical failure, "No one wants to read a difficult literary novel or deal with a prose style which reminds them how thick they are. There's a push towards egalitarianism, making writing more chummy and interactive, instead of a higher voice, and that's what I go to literature for."[17] Yellow Dog "controversially made the 13-book longlist for the 2003 Booker Prize, despite some scathing reviews", but failed to win the award.
Following the harsh reviews afforded to Yellow Dog, Amis relocated from London to Uruguay with his family for two years, during which time he worked on his next novel away from the glare and pressures of the London literary scene.
In September 2006, upon his return from Uruguay, Amis's published his eleventh novel. House of Meetings, a short work, continued the author's crusade against the crimes of Stalinism and also saw some consideration of the state of contemporary post-Soviet Russia. The novel centres on the relationship between two brothers incarcerated in a prototypical Siberian gulag who, prior to their deportation, had loved the same woman. House of Meetings saw some better critical notices than Yellow Dog had received three years before, but there were still some reviewers who felt that Amis's fiction work had considerably declined in quality while others felt that he was not suited to writing an ostensibly serious historical novel. Despite the praise for House of Meetings, once again Amis was overlooked for the Booker Prize longlist. According to a piece in The Independent, the novel "was originally to have been collected alongside two short stories - one, a disturbing account of the life of a body-double in the court of Saddam Hussein; the other, the imagined final moments of Muhammad Atta, the leader of 11 September attacks - but late in the process, Amis decided to jettison both from the book."[19] In the same 2006 interview, Amis revealed that he had "recently abandoned a novella, The Unknown Known (the title was based on one of Donald Rumsfeld's characteristically strangulated linguistic formulations) in which Muslim terrorists unleash a horde of compulsive rapists on a town called Greeley, Colorado"[19] and instead continued to work on a follow-up full novel that he had started working on in 2003:[20]
"The novel I'm working on is blindingly autobiographical, but with an Islamic theme. It's called A Pregnant Widow, because at the end of a revolution you don't have a newborn child, you have a pregnant widow. And the pregnant widow in this novel is feminism. Which is still in its second trimester. The child is nowhere in sight yet. And I think it has several more convulsions to undergo before we'll see the child."[19]
The new novel took some considerable time to write and was not published before the end of the decade. Instead, Amis's last published work of the 2000s was the 2008 journalism collection The Second Plane, a collection with compiled Amis's many writings on the events of 9/11 and the subsequent major events and cultural issues resulting from the War on Terror. The reception to The Second Plane was decidedly mixed, with some reviewers finding its tone intelligent and well reasoned, while others believed it to be overly stylised and lacking in authoritative knowledge of key areas under consideration. The most common consensus was that the two short stories included were the weakest point of the collection. The collection sold relatively well and was widely discussed and debated.
2010s
In 2010, after a long period of writing, rewriting, editing and revision, Amis published his long-awaited new long novel, The Pregnant Widow, which marks the beginning of a new four-book deal. Originally set for release in 2008, the novel's publication was pushed back to 2009 and then 2010 as further editing and alterations were being made, expanding the novel to some 480 pages. A statement from publishers Johnathan Cape describes the content of the novel:
"The 1960s, as is well known, saw the launch of the sexual revolution, which radically affected the lives of every Westerner fortunate enough to be born after the Second World War. But a revolution is a revolution - contingent and sanguinary. In the words of the Russian thinker Alexander Herzen: The death of the contemporary forms of social order ought to gladden rather than trouble the soul. Yet what is frightening is that what the departing world leaves behind it is not an heir but a pregnant widow. Between the death of the one and the birth of the other, much water will flow by, a long night of chaos and desolation will pass. In many senses, including the literal, it was a velvet revolution; but it wasn't bloodless. Nor was it complete. Even today, in 2009, the pregnancy is still in its second trimester. Martin Amis, in "The Pregnant Widow", takes as his control experiment a long, hot summer holiday in a castle in Italy, where half a dozen young lives are afloat on the sea change of 1970. The result is a tragicomedy of manners, combining the wit of "Money" with the historical sense of "Time's Arrow" and "House of Meetings"."[21]
The first public reading of the then just completed version of The Pregnant Widow occurred on 11 May 2009 at the Norwich Playhouse as part of the Norwich and Norfolk festival.[22] Amis was in conversation with the Observer’s Robert McCrum, a long-time friend of his. At this reading, according to the coverage of the event for the Norwich Writers' Centre by Katy Carr, "the writing shows a return to comic form, as the narrator muses on the indignities of facing the mirror as an aging man, in a prelude to a story set in Italy in 1970, looking at the effect of the sexual revolution on personal relationships. The sexual revolution was the moment, as Amis sees it, that love became divorced from sex. He said he started to write the novel autobiographically (something that has been interesting the press recently), but then concluded that real life was too different from fiction, and difficult to drum into novel shape, so he had to rethink the form."[22] Additionally, Amis "seemed quite happy reading the opening pages in the novel’s first public outing."[22]
Further details concerning the novel's plot were revealed by The Times on 10 May 2009, its reporter Maurice Chittenden writing that at the event "Amis said the book was originally meant to be based much more closely on his own life. He had introduced more fictional passages after realising the format was not working," and that he "[had] been working on the partly autobiographical The Pregnant Widow for more than five years."[.

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Amis and Katie Price
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On 27 October 2009, The Daily Telegraph reported that during a recent appearance by Amis at the Hay Festival in Wales, Amis had discussed his fascination with the glamour model turned celebrity author Katie Price (formerly known as Jordan). Amis went on to reveal that he "has honoured [Price] with a character bearing some of her traits" in his forthcoming new novella provisionally titled State of England (also the title of a 1996 short story by Amis). Amis said that her character was named 'Threnody', and stated categorically that Threnody "isn't based on" Jordan but readers should "bear in mind" the model when they read the book.[Furthermore, Amis said of Price: "She has no waist, no arse...an interesting face...but all we are really worshipping is two bags of silicone," though he admitted to having read both volumes of her autobiography.[]
Amis's remarks concerning Price and the rise of the "celebrity author" provoked wide discussion and much fierce debate with the press and literary circles, with Guardian BookBlog writer Jean Hannah Edelstein accusing Amis of misogyny and implying that it showed insecurity on his part. David Lister in The Independent thought that Amis was "refreshingly unafraid to challenge prevailing orthodoxies"[but thought he had also been "a real fool". "In turning his critique of celebrity publishing into a personal attack on a woman's physical attributes in language that would have seemed chauvinist 40 years ago, let alone now, he has shown his true colours, won Jordan sympathy and lost the argument on celebrity novels," Lister wrote. These are accusations which have been levelled at Amis before, most notably in 1989 when London Fields was rumoured to have been excluded from the Booker Prize longlist for similar reasons after protests by judges Maggie Gee and Helen McNeil, and exclusions from the shortlist for the Whitbread Prize the same year.[Independent Editor-At-Large Janet Street Porter also attacked Amis's remarks: "The truth is, he doesn't sell as many books as he used to...Whether Amis can cope with it or not, Katie Price sells millions of books to people who would not normally buy books." Street Porter went on to add that Price's novels were "pure escapism"[ (asking "...what's wrong with that?") and that in being "reduced to slagging off a woman who will never have read one of his own books, or even have heard of him, in order to drum up interest and grab a few headlines for his next opus", Amis was "signing up to the very culture he's said to despise." Porter signed off her piece saying that Amis shouldn't be "...such a rude snob."Amis was defended by fellow novelist Tony Parsons. Writing in The Mirror, Parsons opined that "...it is wrong to suggest that Amis is just jealous of Jordan’s sales figures. I think the real problem is the sheer excitement that Katie/Jordan generates among her readers. She encourages people to pour into bookshops in a way that the likes of Martin and I can only dream about." Despite the critical acclaim of literary fiction and high profile awards such as the Booker Prize, Parsons said that ultimately "Jordan, those two bestselling bags of silicone, has done more to promote reading in this country than anyone apart from the great J.K. Rowling."]
Amis revealed a few more details about Threnody and his views on Jordan in an interview with Will Gore for the Epsom Guardian prior to the release of The Pregnant Widow:
“She is a minor character,” he explains. “It is not Jordan but a rather different type of woman who gets about as much attention. My character is a poet, not a novelist, on the side as well as being a glamour model. “I think it is slightly depressing that Jordan’s autobiography is a best seller and people queue for five hours to meet her. What does that say about England? “Snobbery has to start somewhere and if you can’t be snobbish about Katie Price you are dead, you’ve gone.”]
Further details about State of England and Amis's plans were revealed in an interview with The Times in late January 2010 prior to the release of The Pregnant Widow. According to the article, "[Amis has] nearly finished his next novel, State of England, about chavs, which contains one character, Threnody, inspired by Katie Price and another, “my worst yet”, he says, based on Mikey Carroll, a crack-smoking lottery winner. “Lionel Asbo wins £90m on the lottery and does something so vicious…I can't tell you what”.Amis clarified further by stating: “I’ve got the first draft of the next novel done...and another novel ready to go after that.”]
Other works
Amis has also released two collections of short stories (Einstein's Monsters and Heavy Water), four volumes of collected journalism and criticism (The Moronic Inferno, Visiting Mrs Nabokov, The War Against Cliché and The Second Plane), and a guide to 1980s space-themed arcade video-game machines (Invasion of the Space Invaders). He also regularly appeared on television and radio discussion and debate programmes, and contributes book reviews and articles to newspapers. His wife Isabel Fonseca released her debut novel Attachment in 2009 and two of Amis's children, his son Louis and his daughter Fernanda, have also been published in their own right in Standpoint magazine and The Guardian, respectively.[
Current life
Amis returned to Britain in September 2006 after living in Uruguay for two and a half years with his second wife, the writer Isabel Fonseca, and their two young daughters. Amis became a grandfather in 2008 when his daughter Delilah gave birth to a son. He said, "Some strange things have happened, it seems to me, in my absence. I didn't feel like I was getting more rightwing when I was in Uruguay, but when I got back I felt that I had moved quite a distance to the right while staying in the same place." He reports that he is disquieted by what he sees as increasingly undisguised hostility towards Israel and the United States.
In late 2010 Amis bought a property in the Cobble Hill area of Brooklyn, New York, although it is unclear whether he will be permanently moving to New York or just maintaining another 'sock' there.]

Through the 1980s and 1990s, Amis was a strong critic of nuclear proliferation. His collection of five stories on this theme, Einstein's Monsters, began with a long essay entitled "Thinkability" in which he set out his views on the issue, writing: "Nuclear weapons repel all thought, perhaps because they can end all thought."
He wrote in "Nuclear City" in Esquire of 1987 (re-published in Visiting Mrs Nabokov) that: "when nuclear weapons become real to you, when they stop buzzing around your ears and actually move into your head, hardly an hour passes without some throb or flash, some heavy pulse of imagined supercatastrophe."
Amis expressed his opinions on terrorism in an extended essay published in The Observer on the eve of the fifth anniversary of 9/11 in which he criticized the economic development of all Arab countries because their "aggregate GDP... was less than the GDP of Spain", and they "lag[ged] behind the West, and the Far East, in every index of industrial and manufacturing output, job creation, technology, literacy, life-expectancy, human development, and intellectual vitality."[The Catholic-Marxist critic Terry Eagleton, in the 2007 introduction to his work Ideology, singled out and attacked Amis for a particular quote (which Eagleton mistakenly attributed to one of Amis's essays),[citation needed] taken the day after the 2006 transatlantic aircraft plot came to light, in an informal interview in The Times Magazine. Amis was quoted as saying: "What can we do to raise the price of them doing this? There’s a definite urge – don’t you have it? – to say, ‘The Muslim community will have to suffer until it gets its house in order.’ What sort of suffering? Not letting them travel. Deportation – further down the road. Curtailing of freedoms. Strip-searching people who look like they’re from the Middle East or from Pakistan… Discriminatory stuff, until it hurts the whole community and they start getting tough with their children...It’s a huge dereliction on their part".[38] Eagleton wrote that this view is "[n]ot the ramblings of a British National Party thug, [...] but the reflections of Martin Amis, leading luminary of the English metropolitan literary world".
In a highly critical article in the Guardian "The absurd world of Martin Amis" the satirist Chris Morris likened Amis to the Muslim cleric Abu Hamza (who was jailed for inciting racial hatred in 2006), suggesting that both men employ "mock erudition, vitriol and decontextualised quotes from the Qu'ran" to incite hatred. In a later piece, Eagleton added: "But there is something rather stomach-churning at the sight of those such as Amis and his political allies, champions of a civilisation that for centuries has wreaked untold carnage throughout the world, shrieking for illegal measures when they find themselves for the first time on the sticky end of the same treatment."
Elsewhere, Amis was especially careful to distinguish between Islam and radical Islamism, stating that:
“
"We can begin by saying, not only that we respect Muhammad, but that no serious person could fail to respect Muhammad - a unique and luminous historical being...Judged by the continuities he was able to set in motion, Muhammad has strong claims to being the most extraordinary man who ever lived...To repeat, we respect Islam - the donor of countless benefits to mankind...But Islamism? No, we can hardly be asked to respect a creedal wave that calls for our own elimination...Naturally we respect Islam. But we do not respect Islamism, just as we respect Muhammad and do not respect Muhammad Atta."A prominent British Muslim, Yasmin Alibhai-Brown, wrote an op-ed piece on the subject condemning Amis and he responded with an open letter to The Independent which the newspaper printed in full. In it, he stated his views had been misrepresented by both Alibhai-Brown and Eagleton. In an article in The Guardian, Amis subsequently wrote:
“
And now I feel that this was the only serious deprivation of my childhood - the awful human colourlessness of South Wales, the dully flickering whites and grays, like a Pathe newsreel, like an ethnic Great Depression. In common with all novelists, I live for and am addicted to physical variety; and my one quarrel with the rainbow is that its spectrum isn't wide enough. I would like London to be full of upstanding Martians and Neptunians, of reputable citizens who came, originally, from Krypton and Tralfamadore.

On terrorism, Martin Amis wrote that he suspected "there exists on our planet a kind of human being who will become a Muslim in order to pursue suicide-mass murder," and added: "I will never forget the look on the gatekeeper's face, at the Dome of the Rock in Jerusalem, when I suggested, perhaps rather airily, that he skip some calendric prohibition and let me in anyway. His expression, previously cordial and cold, became a mask; and the mask was saying that killing me, my wife, and my children was something for which he now had warrant."
In comments on the BBC in October 2006 Amis expressed his view that North Korea was the most dangerous of the two remaining members of the Axis Of Evil, but that Iran was our "natural enemy", suggesting that we should not feel bad about having "helped Iraq scrape a draw with Iran" in the Iran–Iraq War, because a "revolutionary and rampant Iran would have been a much more destabilising presence."
His views on radical Islamism earned him the contentious sobriquet Blitcon from the New Statesman (his former employer). This term, it has since been argued, was wrongly applied.[
His political opinions have been attacked in some quarters, particularly in The Guardian.]He has received support from many other writers. In The Spectator, Philip Hensher noted:
“
"The controversy raised by Amis’s views on religion as specifically embodied by Islamists is an empty one. He will tell you that his loathing is limited to Islamists, not even to Islam and certainly not to the ethnic groups concerned. The point, I think, is demonstrated, and the openness with which he has been willing to think out loud could usefully be emulated by political figures, addicted as they are to weasel words and double talk. I have to say that from non-practising Muslims I’ve heard language and opinions on Islamists which are far less temperate than anything Amis uses. In comparison to the private expressions of voices of modernity within Muslim societies, Amis is almost exaggeratedly respectful."In June 2008, Amis endorsed the presidential candidacy of Barack Obama, stating that "The reason I hope for Obama is that he alone has the chance to reposition America's image in the world".Agnosticism
In 2006, Amis said that "agnostic is the only respectable position, simply because our ignorance of the universe is so vast" that atheism is "premature". Clearly, "there's not going to be any kind of anthropomorphic entity at all", but the universe is "so incredibly complicated", "so over our heads", that we cannot exclude the existence of "an intelligence" behind it.
In 2010, he said: "I'm an agnostic, which is the only rational position. It's not because I feel a God or think that anything resembling the banal God of religion will turn up. But I think that atheism sounds like a proof of something, and it's incredibly evident that we are nowhere near intelligent enough to understand the universe.... Writers are above all individualists, and above all writing is freedom, so they will go off in all sorts of directions. I think it does apply to the debate about religion, in that it's a crabbed novelist who pulls the shutters down and says, there's no other thing. Don't use the word God: but something more intelligent than us... If we can't understand it, then it's formidable. And we understand very little."Recent employment
In February 2007, Martin Amis was appointed as a Professor of Creative Writing at The Manchester Centre for New Writing in the University of Manchester, and started in September 2007. He ran postgraduate seminars, and participated in four public events each year, including a two-week summer school.
Of his position, he said: "I may be acerbic in how I write but...I would find it very difficult to say cruel things to [students] in such a vulnerable position. I imagine I'll be surprisingly sweet and gentle with them."He predicted that the experience might inspire him to write a new book, while adding sardonically: "A campus novel written by an elderly novelist, that's what the world wants."It was revealed that the salary paid to Amis by the university was £80,000 a year. The Manchester Evening News broke the story claiming that according to his contract this meant he was paid £3000 an hour for 28 hours a year teaching. The claim was echoed in headlines in several national papers. As with any other member of academic staff, his teaching contact hours constituted a minority of his commitments, a point confirmed in the original article by a reply from the University. In January 2011, it was announced that he would be stepping down from his university position at the end of the current academic year.[From October 2007 to July 2011, at Manchester University's Whitworth Hall or at the Cosmo Rodewald Concert Hall, Martin Amis regularly engaged in public discussions with other experts on literature and various topics (21st century literature, terrorism, religion, Philip Larkin, science, Britishness, suicide, sex, ageing, his novel The Pregnant Widow, violence, film, the short story, and America).

يتم اجتماعي بسبب انفصال الابوين وهو في سن الثانية عشره ليعيش لاحقا مع والده وزوجة والده

يتيم اجتماعي

==
استنتاجات أولية :

أولا: بعد دراسة العشر روايات من81 إلى 90 تبين ما يلي:

81 ـ أغنية الجلاد،للمؤلف نورمان ميللر، مأزوم.
82 ـ إنكانت ليلة الشتاء مسافرة، للمؤلف إيتالو كالفينو، مأزوم ..
83 ـمنعطف في النهر، للمؤلف في. إس. نيبول. يتم في سن 21
84 ـ في انتظار البرابرة،للمؤلف جي. إم. كويتزيمأزوم.
85 ـ إدارة المنزل، للمؤلفةمارلينروبنسون، مجهولة الطفولة.
86 ـ لانارك، للمؤلف السادير جريوتدور أحداث القصة فيجلاسكو، يتيم الام في سن 18
87 ـ مثلث نيويورك،للمؤلف بولاوستر،مأزوم /موت صديقه في سن الـ 14ويتيم اجتماعي.
88 ـ ذا بي إف جي، للمؤلف رولد دال، يتيم الاب
89ـ الجدول الدوري،للمؤلف بريمو ميفي، مأزوم ويتيم اجتماعي
90 ـ المال، للمؤلفمارتنإميس. يتيم اجتماعي .

- عدد الأيتام الفعلين في هذه المجموعة 3فقط وبنسبة%30
- عدد الأيتام الافتراضين ( يتم اجتماعي ) 3 فقط وبنسبة 30%

- مجموع الأيتام ( فعلى + افتراضي) = 6 وبنسبة 60%

- عدد من كانت حياتهم مأزومة 3 وبنسبة 30% .
- مجموع من كانت حياتهم يتم فعلي+ يتم افتراضي + مأزومة = 9 وبنسبة90% .
- عدد مجهولين الطفولة 1 وبنسبة 10%.

12-17-2011, 10:53 AM

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والان مع سر الروعة في رواية :

91 ـ فنان من العالم العائم، للمؤلف كازو إيشيجورو:

91. An Artist of the Floating World Kazuo Ishiguro - A collaborator from prewar Japan reluctantly discloses his betrayal of friends and family.
تدور احداث الرواية حول عميل ياباني كان يعمل قل الحرب العاملية الثانية والرواية عبارة عن كشف ما كان يفعله من خيانه لاصدقاؤه وعائلته
An Artist of the Floating World (1986) is a novel by British-Japanese author Kazuo Ishiguro. It is set in post-World War II Japan and is narrated by Masuji Ono, an aging painter, who looks back on his life and how he has lived it. He notices how his once great reputation has faltered since the war and how attitudes towards him and his paintings have changed. The chief conflict deals with Ono's need to accept responsibility for his past actions. The novel attempts to ask and answer the question: what is man's role in a rapidly changing environment?
رواية من تأليف البرياطني الياباني كازو إيشيجورو
Narrative structure
In the buildup to World War II, Ono, a promising artist, broke away from the teaching of his master, whose artistic aim is to reach an aesthetic ideal, and became involved in far-right politics, making propagandistic art. As a member of the Cultural Committee of the Interior Department and official adviser to the Committee of Unpatriotic Activities, Ono became a police informer, taking an active part in an ideological witch hunt. After the 1945 defeat and the collapse of jingoistic, early twentieth-century Japan, Ono became a discredited figure, one of the "traitors" who "led the country astray", while the victims of state repression, including people Ono himself had denounced, are reinstated and allowed to lead a normal life. Over the course of the first three sections, spanning October 1948-November 1949, Ono seems to show a growing acknowledgement of his past "errors", although this acknowledgement is never explicitly stated. However, in the short fourth and last section (June 1950), Ono appears to have returned to his earlier inability to change his viewpoint.
The book is written in the first person and hinges on the exclusive use of a single, unreliable narrative voice, expressing a viewpoint which the reader identifies as limited and fallible, without any other voice or point of view acting as a test. Ono often makes it clear that he is not sure of the accuracy of his narrative, but this may either make the reader cautious or, on the contrary, suggest that Ono is very honest and therefore trustworthy. The self-image Ono expresses in his narrative is vastly different from the image of him the reader builds from reading the same narrative. Ono often quotes others as expressing admiration and indebtedness to him. Ono's narrative is characterized by denial, so that his interests and his hierarchy of values are at odds with the reader's. The reader therefore finds what they are interested in is not in the focus of Ono's narrative but at its fringes, presented in an oblique rather than frontal way. For example, Ono's descriptions of his pictures focus on pictorial technique, mentioning the subjects as if they were unimportant, although they reveal the propagandistic nature of his work. It is not necessarily clear if this focus on style rather than substance should be ascribed to Ono as narrator (showing his retrospective, unconscious embarrassment) or if it was already present in him at the time he was making the pictures (showing that totalitarianism exploits people's "ability" to restrain their consciousness to limited aspects of their actions). Similarly, when Ono narrates an episode when he was confronted with the results of his activity as a police informer, it is debatable whether his attempt to mitigate the police's brutality is a retrospective fabrication devised to avoid his responsibility, or whether he did disapprove of the treatment of the person he had denounced, dissociating himself from his actions and refusing to recognize this treatment as a direct and foreseeable consequence of his own action.
Themes
Amongst the themes explored in this novel are arranged marriage, the changing roles of women, and the lessening status of "elders" in Japanese society since World War II. The novel is narrated through the eyes of one man who, besides being an artist, is also a father, grandfather, and widower. It tells, with a strong voice, much about the "pleasure" era of Japanese society, elaborating on the life of a successful and devoted young artist in a decadent era. We learn how attitudes toward Japanese art and society became less tolerant of such extravagance, and what it was like to live with the guilt of such pleasure. The pace is slow and luscious and the language delightful, all reflecting the central theme.
Awards
The novel was shortlisted for the 1986 Booker Prize and won the Whitbread Book of the Year Award for the same year.
Title
The novel's title is based on the literal translation of Ukiyo-e, a word referring to the Japanese art of prints. Therefore, it can be read as "a printmaker" or "an artist living in a changing world," given both Ono's limited understanding and the dramatic changes his world, Japan in the first half of the twentieth century, has undergone in his lifetime.

==
An Artist of the Floating World Plot Summary
Preview of An Artist of the Floating World Summary:
An Artist of the Floating World tells the story of Masuji Ono, a Japanese artist who became a leading cultural figure in support of imperialism and Japan's involvement in World War II. In the years leading up to the war, his pro-war propaganda made Ono a highly respected artist, and he commanded a prestigious reputation in the community. Since as a young boy his father had told him he'd never amount to anything if he pursued his art, success was particularly sweet to Ono. Moreover, his first art teacher, Seiji Moriyama, also told Ono he would never amount to anything if he eschewed Moriyama's aesthetic style to paint his political works of art. On separate occasions, both his father and Moriyama went so far as to burn Ono's paintings. An Artist of the Floating World tells the story of how Ono's political life leads him to the point where he...

12-17-2011, 01:12 PM

المشاركة 300

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Kazuo Ishiguro OBE (Kazuo Ishiguro) or 石黒一雄 (Ishiguro Kazuo); born 8 November 1954) is a Japanese–British novelist. He was born in Nagasaki, Japan, and his family moved to England in 1960.
ولد في عام 1954 في نكازاكي- اليابان، وهو روائي بريطاني من اصل ياباني وانتقلت اسرته الى بريطانيا عام 1960
Ishiguro obtained his Bachelor's degree from University of Kent in 1978 and his Master's from the University of East Anglia's creative writing course in 1980. He became a British citizen in 1982.
درس في بريطانيا وحصل على الجنسية البريطانية عام 1982
Ishiguro is one of the most celebrated contemporary fiction authors in the English-speaking world, having received four Man Booker Prize nominations, and winning the 1989 prize for his novel The Remains of the Day. In 2008, The Times ranked Ishiguro 32nd on their list of "The 50 greatest British writers since 1945".
Recently, his novel Never Let Me Go has been adapted to film.

Early life and career

Ishiguro was born in Nagasaki on 8 November 1954, the son of Shizuo Ishiguro, a physical oceanographer, and his wife Shizuko. In 1960 his family, including his two sisters, moved to Guildford, Surrey so that his father could work on oil development in the North Sea.
انتقلت العائلة الى بريطانيا ليتمكن والده ن العمل في حقل الفط في بحر الشمال
He attended Stoughton Primary School and then Woking County Grammar School in Surrey. After finishing school he took a 'gap year' and travelled through America and Canada, whilst writing a journal and sending demo tapes to record companies.
درس في مدارس بريطانية وبعد انهاء المدرسة الثانوية سافر الى الولايات المتحدة وكندا لمدة عام
In 1974 he began at the University of Kent, Canterbury, and he graduated in 1978 with a Bachelor of Arts (honours) in English and Philosophy. After spending a year writing fiction, he resumed his studies at the University of East Anglia where he gained a Master of Arts in Creative Writing in 1980. He became a British citizen in 1982.
بدأ دراسته الجامعية عام 1974 وانجزها عام 1978 وحصل على شهادة في اللغة الانجليزية والفلسفة
He co-wrote four of the songs on jazz singer Stacey Kent's 2009 Breakfast On the Morning Tram album. He also wrote the liner notes to Kent's 2003 album, In Love Again.

Literary characteristics

A number of his novels are set in the past. His most recent, Never Let Me Go, has science fiction qualities and a futuristic tone; however, it is set in the 1980s and 1990s, and thus takes place in a very similar yet alternate world. His fourth novel, The Unconsoled, takes place in an unnamed Central European city. The Remains of the Day is set in the large country house of an English lord in the period surrounding World War II.
An Artist of the Floating World is set in an unnamed Japanese city during the period of reconstruction following Japan's surrender in 1945. The narrator is forced to come to terms with his part in World War II. He finds himself blamed by the new generation who accuse him of being part of Japan's misguided foreign policy and is forced to confront the ideals of the modern times as represented by his grandson.
The novels are written in the first-person narrative style and the narrators often exhibit human failings. Ishiguro's technique is to allow these characters to reveal their flaws implicitly during the narrative. The author thus creates a sense of pathos by allowing the reader to see the narrator's flaws while being drawn to sympathize with the narrator as well. This pathos is often derived from the narrator's actions, or, more often, inaction. In The Remains of the Day, the butler Stevens fails to act on his romantic feelings toward housekeeper Miss Kenton because he cannot reconcile his sense of service with his personal life.
Ishiguro's novels often end without any sense of resolution. The issues his characters confront are buried in the past and remain unresolved. Thus Ishiguro ends many of his novels on a note of melancholic resignation.
غالبا ما ينهي رواياته بنهاية حزينة
His characters accept their past and who they have become, typically discovering that this realization brings comfort and an ending to mental anguish.
ابطاله يتقبلون ماضيهم وهو ما ينهي المعاناة الذهنية ويجلب الراحة
This can be seen as a literary reflection on the Japanese idea of mono no aware.

Ishiguro and Japan

Ishiguro was born in Japan and has a Japanese name (the characters in the surname Ishiguro mean 'rock' and 'black' respectively). He set his first two novels in Japan; however, in several interviews he has had to clarify to the reading audience that he has little familiarity with Japanese writing and that his works bear little resemblance to Japanese fiction.
In a 1990 interview he said, "If I wrote under a pseudonym and got somebody else to pose for my jacket photographs, I'm sure nobody would think of saying, 'This guy reminds me of that Japanese writer.'" Although some Japanese writers have had a distant influence on his writing — Jun'ichirō Tanizaki is the one he most frequently cites — Ishiguro has said that Japanese films, especially those of Yasujirō Ozu and Mikio Naruse, have been a more significant influence.
Ishiguro left Japan in 1960 at the age of 5 and did not return until 1989, nearly 30 years later, as a participant in the Japan Foundation Short-Term Visitors Program.
غادر اليابان وهو في سن الخامسة ولم يعد اليها الا وهو في الثلاثيين
In an interview with Kenzaburo Oe, Ishiguro acknowledged that the Japanese settings of his first two novels were imaginary: "I grew up with a very strong image in my head of this other country, a very important other country to which I had a strong emotional tie. In England I was all the time building up this picture in my head, an imaginary Japan."

Personal life

Ishiguro has been married to Lorna MacDougall, a social worker, since 1986. They met at the West London Cyrenians homelessness charity in Notting Hill, where Ishiguro was working as a residential resettlement worker. They live in London with their daughter Naomi.

Awards

He was featured in the first two Granta Best of Young British Novelists: in 1983 and in 1993. He won the Whitbread Prize in 1986 for his second novel, An Artist of the Floating World. He won the Booker Prize in 1989 for his third novel, The Remains of the Day. An Artist of the Floating World, When We Were Orphans and his most recent novel, Never Let Me Go, were all short-listed for the Booker Prize. A leaked account of a judging committee's meeting revealed that the committee found itself deciding between Never Let Me Go and John Banville's The Sea before awarding the prize to the latter.[9][10]
He was appointed OBE for services to literature in 1995, and was awarded the Ordre des Arts et des Lettres by the French Ministry of Culture in 1998. On Time magazine's 2005 list of the 100 greatest English language novels published since the magazine formed in 1923, Never Let Me Go was the most recent novel. In 2008, The Times named Ishiguro among their list of "The 50 greatest British writers since 1945".[11]
He was elected a Fellow of the Royal Society of Literature in 1989.[12]

Works

Novels

· A Pale View of Hills (1982)
· An Artist of the Floating World (1986)
· The Remains of the Day (1989)
· The Unconsoled (1995)
· When We Were Orphans (2000)
· Never Let Me Go (2005)
==
Eighteen years after his first book, A Pale View of Hills was published, Kazuo Ishiguro, thinks that he has his early success figured out. Ishiguro feels that in the early 1980s when he was arriving on the scene, publishers in Great Britain had, "a great hunger for this kind of new internationalism. After quite a long time of people being preoccupied with the English class system or the middle-class adultery novel or whatever, publishers in London and literary critics and journalists in London suddenly wanted to discover a new generation of writers who would be quite different from your typical older generation of English writer."
===
Born in Nagaski in 1954, Ishiguro's family moved to England in 1960 expecting to return to Japan in a year, although they remained in Britain. Ishiguro, whose friends, he says, call him "Ish," attended the University of Kent and the University of East Anglia. On the surface, Ishiguro has achieved the perfect balance of those who immigrate at a very young age. He is, of course, Japanese. But his speech and mannerisms are absolutely British and his accent and way of speaking give away his education and upbringing as well as anything could.
It was perhaps this cultural blend that so endeared him to British publishers early on. "That's how I kind of branded myself right from the start: as somebody who didn't know Japan deeply, writing in English whole books with only Japanese characters in. Trying to be part of the English literary scene like that."
This talk of branding and fashion trends in literary scenes would be easier to swallow if Ishiguro were a different kind of writer. The fact is, every one of his five carefully crafted novels has been published to international acclaim and recognition far beyond most writer's dreams. Four of his novels have been nominated for the Booker Award -- arguably English language literature's most coveted prize -- including his third novel, The Remains of the Day which was awarded the Booker in 1989 and was made into a successful film in 1993 and his most recent novel, When We Were Orphans.
احدث رواية له تسمى " عندما كنا ايتام"
When We Were Orphans is set mainly in Shanghai prior to World War II. The protagonist and narrator is Christopher Banks, a young man who was orphaned in Shanghai when he was a child and sent back to Britain to be raised by an aunt. As an adult in London, Christopher comes to prominence as a detective and realizes he must return to Shanghai to solve the mystery that has driven him throughout his career: the disappearance of his parents.
While it's possible to set any story into a nutshell in this way, readers familiar with Ishiguro's work will realize it doesn't begin to do justice to this postmodernist writer's work. The writer himself compares aspects of When We Were Orphans to expressionist art, "where everything is distorted to reflect the emotion of the artist who is looking at the world. It's kind of like that. The whole world portrayed in that book starts to tilt and bend in an attempt to orchestrate an alternative kind of logic."