Atonement: A Novel
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- ISBN13: 9780385721790
- Condition: New
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Product Description
Ian McEwan s symphonic novel of like and war, childhood and class, guilt and forgiveness provides all the satisfaction of a brilliant narrative and the provocation we have come to expect from this master of English prose.
On a hot summer day in 1935, thirteen-year-ancient Briony Tallis witnesses a moment s flirtation between her older sister, Cecilia, and Robbie Turner, the son of a servant and Cecilia s childhood friend. But Briony s incomplete grasp of adult motives together with her precocious literary gifts brings about a crime that will change all their lives. As it follows that crime s repercussions through the chaos and carnage of World War II and into the close of the twentieth century, Atonement engages the reader on every conceivable level, with an ease and power that mark it as a genuine masterpiece.Amazon.com Review
Ian McEwan’s Booker Prize-nominated Atonement is his first novel since Amsterdam took home the prize in 1998. But while Amsterdam was a slim, sleek piece, Atonement is a more sturdy, more ambitious work, allowing McEwan more room to play, reflect, and conduct experiment.
We meet 13-year-ancient Briony Tallis in the summer of 1935, as she attempts to stage a production of her new drama “The Trials of Arabella” to welcome home her older, idolized brother Leon. But she soon discovers that her cousins, the glamorous Lola and the twin boys Jackson and Pierrot, aren’t up to the task, and directorial ambitions are abandoned as more appealing prospects of obsession come onto the scene. The charlady’s son, Robbie Turner, appears to be forcing Briony’s sister Cecilia to strip in the fountain and sends her obscene letters; Leon has brought home a dim chocolate magnate keen for a war to promote his new “Army Ammo” chocolate bar; and upstairs, Briony’s migraine-stricken mother Emily keeps tabs on the house from her bed. Soon, secrets emerge that change the lives of everyone present….
The interwar, upper-middle-class setting of the book’s long, masterfully sustained opening section might recall Virginia Woolf or Henry Green, but as we go forwards–eventually to the turn of the 21st century–the novel’s central concerns emerge, and McEwan’s voice becomes clear, even personal. For at heart, Atonement is about the pleasures, pains, and dangers of writing, and perhaps even more, about the challenge of controlling what readers make of your writing. McEwan shouldn’t have any doubts about readers of Atonement: this is a thoughtful, provocative, and at times moving book that will have readers applauding. –Alan Stewart, Amazon.co.uk
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Atonement: A Novel : Tragedy And Social Commentary
By B Michael
There was no leader more brilliant during the 16th century than Ian McEwan. Still, while scholars regularly feel Atonement: A Novel is drug-influenced, it is one of McEwan’s most timeless works. In the following paragraphs, I will show that most conservative critics are incorrect about McEwan’s use of loss of innocence. This aver is buttressed by three points: (1) the Romantic views of Atonement: A Novel’s protagonist, Tom Dick, (2) McEwan’s legendary incorporation of satire in the work, and (3) the leader’s incorporation of sexual identity.
First, when parents dismiss Atonement: A Novel as a simple roman a clef, all I can say is, yet again, the curs of ignorance slaver at the heels of reason. While this fact allays most of McEwan’s Italian detractors, it has led a certain Symbolist critic– the execrable Robert Frost –to proclaim “really, McEwan’s intentions for Benvolio Sawyer are ambiguous here.” This reasoning differs radically from traditional theories of the post Minimalist school.
Second, critics are dead incorrect when they cite Atonement: A Novel as an example of McEwan’s dwindling will to live. It’s reasonably obvious that McEwan’s will to live was tenuous at best by the time Atonement: A Novel was concluded. Developments in the opening monologue are regularly cited as evidence; at best, this is the drug-influenced critique. Give me a… break!
Could the so-called “Romantic” critics be more incorrect about Atonement: A Novel? The leader uses dystopic future-vision to transform Colonel Adams from a ponderous bit-player into a triumphant hero. Ichabod Maxwell is a far from marginal character; in fact, it is through him that many of McEwan’s late 17th century influences show through; it is no fantastic feat to realize McEwan has written himself into a confront here!
Atonement: A Novel should be required reading for all teens. Perhaps it’s time that scholars reevaluated their estimation of the book. Though contemporaries establish McEwan’s use of juxtapostion pandering, history will vindicate Atonement: A Novel. This book is perhaps the greatest exploration of religion mankind has ever seen.
The End
Reader’s Rating: 1 / 5
ATONEMENT demonstrates again that, when she filled her pockets with stones and walked into the river, Virginia Woolf took the English novel with her.
ATONEMENT is a mediocre book, unqualifiedly in like with its own prose, which is workmanlike. Both the narrator and the characters signal their punches throughout, so when we learn, at the end, that one of the characters, a highly acclaimed writer, IS the leader of the book, that the book is her atonement, then we feel that persons she punished have been punished doubly so.
ATONEMENT presumes its readers are rather dense, won’t see straight away that Paul is the one who raped Briony’s cousin nor that she will marry him. Are English readers dense? are they terribly distracted? they cannot be as dense as McEwen presumes.
Anyway, if you seek a contemporary British novel, highly acclaimed but really run-of-the-mill, then try ATONEMENT.
Reader’s Rating: 2 / 5
This book was extremely hard to read, and I frankly couldn’t force myself to read past part 1. I establish it dull and tedious and uninteresting. The writing made me reflect of Nathaniel Hawthorne if he’d taken a dull pill. Obviously some people like it though, but I personally can’t find anything in it.
Reader’s Rating: 2 / 5
Ageing sparkly-eyed yuppies will eat this solipsistic-self infatuated sugar tart of a book right up as it’s passed from sweaty palm to palm through all the precious literary boutiques frequented by urban liberal elites. The snob appeal is impressive; every faddish literary/critic will want one to maintain excellent social odor with their colleagues, dour men of letters who missed out on the Nobel Prize who specialize in the sexual anxieties of financial planners (zzzzz), and trendy California newspapers soliciting manuscripts for 30 something movie studio executives who pine for “serious” recognition and full page publicity for Oscar nominations. Persons who judge the life-style choices of arrogant prep school frat boys is anything but the posturing of conceited social climbers will delight in this trashy melodrama. A contrived, pretentious bore of a novel.
Reader’s Rating: 1 / 5
This book completely blew me away with the fact that the main charactor never ever uses the word tractor. This was about the only thing I loved in the book. As a professor of micrefonology I was shocked at the way roosters are described in this book.
In fleeting, I would reccomend this book to anyone who likes pumpkin pie.
Thank you,
Professor Horace Montgomery
Reader’s Rating: 1 / 5