Leviathan
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4,3 • 16 notes
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- 5,99 $US
Description de l’éditeur
NATIONAL BESTSELLER • A “compelling” (Los Angeles Times) novel of friendship, betrayal, estrangement, and the unpredictable intrusions of violence in the everyday—from “a literary original who is perfecting a genre of his own” (The Wall Street Journal)
“Rich and complex . . . with fully fleshed characters, a fast-paced plot, thematic sophistication, and narrative cunning.”—The Boston Globe
“Six days ago, a man blew himself up by the side of a road in northern Wisconsin.”
So begins Peter Aaron’s story about his best friend, Benjamin Sachs. Sachs had a marriage Aaron envied, an intelligence he admired, a world he shared. And then suddenly, after a near-fatal fall that might or might not have been intentional, Sachs disappeared. Now Aaron must piece together the life that led to Sach’s death. His sole aim is to tell the truth and preserve it—before those who are investigating the case invent an account of their own.
Leviathan is a daring and immensely moving story by an author whom The Times Literary Supplement has called “one of America’s most spectacularly inventive writers.”
PUBLISHERS WEEKLY
Auster ( The Music of Chance ) captivatingly renews a theme central to his acclaimed New York Trilogy and Moon Palace --that of the other, the shadow self whose parallel life somehow jumps the track and threatens the more sober protagonist. After his valued friend and fellow writer Ben Sachs blows himself up with a bomb, Peter Aaron reviews their 15-year bond--including their shared love for Ben's lovely wife--and tries to reconstruct Ben's life. A boyhood experience in the Statue of Liberty haunted Ben until his transformation following a plunge from a fire escape at a drunken Fourth of July party in Brooklyn. After this fall, Ben stopped writing and became the ``Phantom of Liberty,'' detonating Statue of Liberty replicas as a sign to America to ``mend its ways.'' Peter's writing, on the other hand, surges ``as though I had caught fire.'' The novel explores the fictional act: the relation between conflicting stories and kinds of truth; the reading of an address book, a la Sophie Calle, as a fertile text jammed with mysterious characters; role-reversal as self-discovery, practiced by photographer Maria and prostitute Lillian, women friends intimately linked to Peter and Ben. Finally, Peter (and Auster) appropriates the title of Ben's abandoned novel, a title that evokes the biblical sea monster and, thanks to Hobbes, the state, implying that the novel is itself a monster genre that merges diverse humans, their nightmares and passions. 25,000 first printing; author tour.
