Nutshell: A Novel
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Description
#1 INTERNATIONAL BESTSELLER From one of our greatest living novelists: a breathtakingly inventive modern retelling of Hamlet, one that plays on the classic tale by placing the anguished son in a position where he can observe and endlessly expound on the family tragedy unfolding before him—but not act on what he knows. “Oh God, I could be bounded in a nutshell and count myself king of infinite space—were it not that I have bad dreams.” —Hamlet, Act II, Scene 2 Trudy has been unfaithful to her husband, John. She’s still in the marital home—a valuable old London townhouse—but she has kicked John out. In his place is her lover, John’s own brother, the profoundly banal Claude. The illicit couple have hatched a murderous plan to rid themselves of her inconvenient husband forever. But there is a witness to their plot: the inquisitive, nine-month-old resident of Trudy’s womb. As Trudy’s unborn son listens, bound within her body, to the tragic end that his mother and his uncle have planned for his hapless father, he gives us a truly new perspective on our world, seen from the confines of his. McEwan’s brilliant recasting of Shakespeare lends new weight to the age-old question of Hamlet’s hesitation, and is a tour de force of storytelling.
Additional information
Weight | 0.24 kg |
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Dimensions | 1.63 × 13.75 × 20.27 cm |
PubliCanadation City/Country | Canada |
by | |
Format | Paperback |
Language | |
Pages | 224 |
Publisher | |
Year Published | 2017-5-30 |
Imprint | |
ISBN 10 | 0345812417 |
About The Author | IAN McEWAN is the critically acclaimed author of many novels and two collections of short stories. His first published work, a collection of short stories, First Love, Last Rites, won the Somerset Maugham Award. His novels include The Child in Time, which won the 1987 Whitbread Novel of the Year Award; The Cement Garden; Enduring Love; Amsterdam, which won the 1998 Booker Prize; Atonement; Saturday; On Chesil Beach; Solar; Sweet Tooth; The Children Act; Nutshell; and Machines Like Me, which was a number-one bestseller. Atonement, Enduring Love, The Children Act and On Chesil Beach have all been adapted for the big screen. He was awarded a CBE in 2000. |
“A peculiar and philosophical novel that features what is perhaps the most ingenious literary conceit of the year.” —The Globe and Mail“Until the exciting day when McEwan . . . is awarded the Nobel Prize in Literature, his numerous and ardent fans enjoy the regular appearance of his highly intelligent and compellingly provocative novels. McEwan can be counted on to make the implausible plausible and the outrageous reasonable, and his talent in that regard is put to its consummate test in [Nutshell]. Startling at first but quickly acceptable and even embraced, this mesmerizing tale is narrated by an unborn, male fetus. . . . [H]e takes matters into his tiny little hands, which brings this ingenious tour de force to its stunning conclusion. As soon as words gets out, any new novel by this bestselling, Booker Prize–winning novelist causes a reader frenzy.” —Booklist (starred review)“Everyone . . . should read Ian McEwan’s Nutshell. . . . McEwan’s command of language is just gobsmacking, even in his sixties; the wonder is that he is hilarious as well. He makes aging look brilliant.” —Ian Brown, author of Sixty, The Globe and Mail“[S]hort, smart, and narrated by an unborn baby. . . . Echoes of Hamlet resound in the plans for fratricide, a ghost, and the baby’s contemplation of shuffling off his mortal coil. The murder plot structures the novel as a crime caper, McEwan-style—that is, laced with linguistic legerdemain, cultural references, and insights into human ingenuity and pettiness. Packed with humor and tinged with suspense.” —Publishers Weekly (starred review)“[S]mart, funny and utterly captivating. . . . [A] small tour de force that showcases all of Mr. McEwan’s narrative gifts of precision, authority and control, plus a new, Tom Stoppard-like delight in the sly gymnastics that words can be perform. . . . Mr. McEwan writes here with such assurance and élan that the reader never for a moment questions his sleight of hand.” —Michiko Kakutani, The New York Times“At once playful and deadly serious, delightful and frustrating, it is one of McEwan’s hardest-to-categorise works, and all the more interesting for it.” —The Times“Nutshell is a joy: unexpected, self-aware and pleasantly dense with plays on Shakespeare. It isn’t Hamlet, and doesn’t particularly illuminate Hamlet, but dances beautifully with it.” —NPR“[C]aptivating. . . . [F]ormidable genius. . . . Is there another writer alive who can pull off a narrative line of this sort? . . . The literary acrobatics required to bring such a narrator-in-the-womb to life would be reason enough to admire this novel. . . . The pleasures of this tautly plotted book require no required reading.” —The New York Times Book Review“[C]lassic story of murder and revenge, told in an astonishing act of literary ventriloquism unlike any in recent literature. A bravura performance, it is the finest recent work from a true master.” —The Guardian |
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Excerpt From Book | So here I am, upside down in a woman. Arms patiently crossed, waiting, waiting and wondering who I’m in, what I’m in for. My eyes close nostalgically when I remember how I once drifted in my translucent body bag, floated dreamily in the bubble of my thoughts through my private ocean in slow-motion somersaults, colliding gently against the transparent bounds of my confinement, the confiding membrane that vibrated with, even as it muffled, the voices of conspirators in a vile enterprise. That was in my careless youth. Now, fully inverted, not an inch of space to myself, knees crammed against belly, my thoughts as well as my head are fully engaged. I’ve no choice, my ear is pressed all day and night against the bloody walls. I listen, make mental notes, and I’m troubled. I’m hearing pillow talk of deadly intent and I’m terrified by what awaits me, by what might draw me in. I’m immersed in abstractions, and only the proliferating relations between them create the illusion of a known world. When I hear “blue,” which I’ve never seen, I imagine some kind of mental event that’s fairly close to “green”—which I’ve never seen. I count myself an innocent, unburdened by allegiances and obligations, a free spirit, despite my meagre living room. No one to contradict or reprimand me, no name or previous address, no religion, no debts, no enemies. My appointment diary, if it existed, notes only my forthcoming birthday. I am, or I was, despite what the geneticists are now saying, a blank slate. But a slippery, porous slate no schoolroom or cottage roof could find use for, a slate that writes upon itself as it grows by the day and becomes less blank. I count myself an innocent, but it seems I’m party to a plot. My mother, bless her unceasing, loudly squelching heart, seems to be involved. Seems, Mother? No, it is. You are. You are involved. I’ve known from my beginning. Let me summon it, that moment of creation that arrived with my first concept. Long ago, many weeks ago, my neural groove closed upon itself to become my spine and my many million young neurons, busy as silkworms, spun and wove from their trailing axons the gorgeous golden fabric of my first idea, a notion so simple it partly eludes me now. Was it me? Too self-loving. Was it now? Overly dramatic. Then something antecedent to both, containing both, a single word mediated by a mental sigh or swoon of acceptance, of pure being, something like—this? Too precious. So, getting closer, my idea was To be. Or if not that, its grammatical variant, is. This was my aboriginal notion and here’s the crux—is. Just that. In the spirit of Es muss sein. The beginning of conscious life was the end of illusion, the illusion of non-being, and the eruption of the real. The triumph of realism over magic, of is over seems. My mother is involved in a plot, and therefore I am too, even if my role might be to foil it. Or if I, reluctant fool, come to term too late, then to avenge it. |
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