Pencere Sey Yayınları Harflerle Düşünelim - Yeşim Kesgül Sercan ücretsiz kitap indir

Jessica Macrae jessicamacrae — Creepy. Anything with little kids, meant to be horror or gothic is creepy.

Juan Skua pagaloskua — Another fun chick lit book. The movie is worth it for the fashion alone.

Daniel Dörrschuck danieldoerrschuck — I was really interested in reading this book. I thought she did a really good job of explaining what she and others went through on 9/11. She had a lot of detail and you felt like you were there. You knew what she was thinking, feeling, etc. This took up 2/3rds of the book. The rest of the book I felt was not written as well. It jumped from one topic to another. She talked about a daughter that came to live with her when she was 16 but didn't tell why or anything and then she goes on to the next topic. I think the last part of the book was too confusing and could have been written better.

Kaleen Mayhew _aleen_ayhew — The novel opens with "The past is never dead. It's not even past," words from Faulkner's Sound and the Fury (please correct this if I got the wrong book), and to an extent the novel is about the relationship between a mother living in rural Ireland and her cosmopolitan semi-famous novelist daughter who doesn't seem to have the time to visit. Beyond the geographical divide, O'Brien's novel is an exploration of the presentness of memory, it's ability to keep one rooted in the past while slipping through present moments without experiencing them, the danger of never breaking the pattern of repetition, the fear that one's memory is a lie. The novel is also an experiment in language as O'Brien takes cues from Faulkner, Flaubert, Joyce and others while shattering and maybe extending characteristics that have become archetypes of modernism. The work is lacunal, as it opens spaces of possible narrative, possible detail, yet never quite fills them and that seems to be her project. How can one write a novel of emptiness, about people who cannot speak to each other about the things they must resolve before death? O'Brien does this through blending epistolary prose with town gossip, deeply biting personal revelations, and anisthetic-induced dreamscapes, and by limiting the voices of external characters or filtering them through the two protagonists. The relationship between the mother and daughter is lived through the material gifts they send back and forth to each other, painstaking handiwork from the mother is exchanged for boutique bought ill-fitting articles of clothing from the daughter. Cloth is a trope for its connection to women's labor and its ability to veil bodies and truths. As a reader, one feels veiled like falling asleep during a movie and missing really crucial sections of the narrative. This feeling is persistant; just as the narrative flow picks up, one is flung into a new voice, in a new time period. It's difficulty is worthwhile for the gorgeous descriptions of the rural country and for the emotional impact the silences press into the reader. O'Brien creates a wonderful clash between folklore and modernity, pastoral and urban life, and past and present.