Lincoln in the Bardo
A Novel
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- 10,99 €
Descrizione dell’editore
#1 NEW YORK TIMES BESTSELLER • WINNER OF THE BOOKER PRIZE • A NEW YORK TIMES NOTABLE BOOK
The “devastatingly moving” (People) first novel from the author of Tenth of December: a moving and original father-son story featuring none other than Abraham Lincoln, as well as an unforgettable cast of supporting characters, living and dead, historical and invented
One of The New York Times’s 100 Best Books of the 21st Century • One of The Atlantic’s Great American Novels of the Past 100 Years • One of Paste’s Best Novels of the Decade
“[Lincoln in the Bardo] demonstrates that even the unspeakable—civil war, familial grief—can be named through a close, humanizing narrative voice.”—Amanda Gorman for Time, “25 Books That Capture This American Moment"
February 1862. With the Civil War less than one year old, President Lincoln’s beloved eleven-year-old son, Willie, lies gravely ill. In a matter of days, Willie dies and is laid to rest in a Georgetown cemetery. Newspapers report that a grief-stricken Lincoln returns, alone, to the crypt several times to hold his boy’s body. From that seed of historical truth, George Saunders spins an unforgettable story that breaks free of its realistic framework into a thrilling, supernatural realm, deploying a kaleidoscopic, theatrical panorama of voices—living and dead, historical and invented—to ask a timeless question: How do we live and love when we know that everything we love must end?
Named One of the Ten Best Books of the Year by The Washington Post, USA Today, and Maureen Corrigan, NPR • One of Time’s Ten Best Novels of the Year • One of O: The Oprah Magazine’s Best Books of the Year
PUBLISHERS WEEKLY
Saunders's (Tenth of December) mesmerizing historical novel is also a moving ghost story. A Dantesque tour through a Georgetown cemetery teeming with spirits, the book takes place on a February night in 1862, when Abraham Lincoln visits the grave of his recently interred 11-year-old son, Willie. The distraught Lincoln's nocturnal visit has a "vivifying effect" on the graveyard's spectral denizens, a gallery of grotesques who have chosen to loiter "in the Bardo" a Tibetan term for a liminal state rather than face final judgment. Among this community, which is still riven by racial and class divisions, are Roger Bevins III, who slashed his wrists after being spurned by a lover, and Hans Vollman, a "wooden-toothed forty-six-year-old printer" struck in the head by a falling beam shortly after marrying his young wife. As irritable, chatty, and bored in their purgatory as Beckett characters, Bevins and Vollman devote themselves to saving Willie from their fate: "The young ones," Bevins explains, "are not meant to tarry." Periodically interrupting the graveyard action are slyly arranged assemblies of historical accounts of the Lincoln era. These excerpts and Lincoln's anguished musings compose a collage-like portrait of a wartime president burdened by private and public grief, mourning his son's death as staggering battlefield reports test his (and the nation's) resolve. Saunders's enlivening imagination runs wild in detailing the ghosts' bizarre manifestations, but melancholy is the novel's dominant tone. Two sad strains, the spirits' stubborn, nostalgic attachment to the world of the living and Lincoln's monumental sorrow, make up a haunting American ballad that will inspire increased devotion among Saunders's admirers.
