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Eleanor Rigby
 
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Eleanor Rigby [Format Kindle]

Douglas Coupland
3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)

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Descriptions du produit

Amazon.com

Liz Dunn isn't morbid, she's just a lonely woman with a very pragmatic outlook on life. Overweight, underemployed, and living in a nondescript condo with nothing but chocolate pudding in the fridge, she has pretty much given up on anything interesting ever happening to her. Everything changes when she gets an unexpected phone call from a Vancouver hospital and a stranger takes on a very intimate place in her life. From here the plot of Douglas Coupland's Eleanor Rigby skyrockets into a very bizarre world, rife with reverse sing-alongs and apocalyptic visions of frantic farmers. The style and plot paths are very identifiably Coupland--slightly mystical, off-kilter, and very, very smart. Ultimately a novel about the burden of loneliness, Eleanor Rigby takes its characters through strange and sometimes nearly unimaginable predicaments.

Fans of Douglas Coupland's later novels, particularly Hey Nostradamus! and Miss Wyoming, are bound to like Eleanor Rigby. Like many of his novels, the journey is strange and unexpected but you come out at the other end with a snapshot of a sardonic and bizarre but ever-so-slightly hopeful place. --Victoria Griffith

Extrait

I had always thought that a person born blind and given sight later on in life through the miracles of modern medicine would feel reborn. Just imagine looking at our world with brand new eyes, everything fresh, covered with dew and charged with beauty — pale skin and yellow daffodils, boiled lobsters and a full moon. And yet I’ve read books that tell me this isn’t the way newly created vision plays out in real life. Gifted with sight, previously blind patients become frightened and confused. They can’t make sense of shape or colour or depth. Everything shocks, and nothing brings solace. My brother, William, says, “Well think about it, Liz — kids lie in their cribs for nearly a year watching hand puppets and colourful toys come and go. They’re dumb as planks, and it takes them a long time to even twig to the notion of where they end and the world begins. Why should it be any different just because you’re older and technically wiser?”

In the end, those gifted with new eyesight tend to retreat into their own worlds. Some beg to be made blind again, yet when they consider it further, they hesitate, and realize they’re unable to surrender their sight. Bad visions are better than no visions.

Here’s something else I think about: in the movies, the way criminals are ready to squeal so long as they’re entered into a witness relocation program. They’re given a brand new name, passport and home, but they’ll never be able to contact anybody from their old life again; they have to choose between death and becoming someone entirely new. But you know what I think? I think the FBI simply shoots everybody who enters the program. The fact that nobody ever hears from these dead participants perversely convinces outsiders that the program really works. Let’s face it: they go to the same magic place in the country where people take their unwanted pets.

Listen to me go on like this. My sister, Leslie, says I’m morbid, but I don’t agree. I think I’m reasonable, just trying to be honest with myself about the ways of the world. Or come up with new ways of seeing them. I once read that for every person currently alive on earth, there are nineteen dead people who have lived before us. That’s not that much really. Our existence as a species on earth has been so short. We forget that.

I sometimes wonder how big a clump you could make if you were to take all creatures that have ever lived — not just people, but giraffes, plankton, amoebas, ferns and dinosaurs — and smush them all together in a big ball, a planet. The gravitational mass of this new clump would make it implode into a tiny ball as hot as the sun’s surface. Steam would sizzle out into space. But just maybe the iron in the blood of all of these creatures would be too heavy to leap out into space, and maybe a small and angry little planet with a molten iron core would form. And just maybe, on that new planet, life would start all over again.

I mention all of this because of the comet that passed earth seven years ago, back in 1997 — Hale-Bopp, a chunk of some other demolished planet hurtling about the universe. I first saw it just past sunset while standing in the parking lot of Rogers Video. Teenage cliques dressed like hooligans and sluts were pointing up, at this small dab of slightly melted butter in the blue-black heavens above Hollyburn Mountain. Sure, I think the zodiac is pure hooey, but when an entirely new object appears in the sky, it opens some kind of window to your soul and to your sense of destiny. No matter how rational you try to be, it’s hard to escape the feeling that such a celestial event portends some kind of radical change.

Funny that it took a comet to trigger a small but radical change in my life. In the years until then, I’d been sieving the contents of my days with ever finer mesh, trying to sort out those sharp and nasty bits that were causing me grief: bad ideas, pointless habits, robotic thinking. Like anybody, I wanted to find out if my life was ever going to make sense, or maybe even feel like a story. In the wake of Hale-Bopp, I realized that my life, while technically adequate, had become all it was ever going to be. If I could just keep things going on their current even keel for a few more decades, the coroner could dump me into a peat bog without my ever having once gone fully crazy.

I made the radical change standing in the video store’s parking lot, holding copies of On the Beach, Bambi, Terms of Endearment, How Green Was My Valley and The Garden of the Finzi-Continis, staring up at the comet. I decided that instead of demanding certainty from life, I now wanted peace. No more trying to control everything — it was now time to go with the flow. With that one decision, the chain-mail shroud I’d been wearing my entire life fell from my body and I was light as a gull. I’d freed myself.

* * *

Of course, we’re born alone, and when we die, we join every living thing that’s ever existed—and ever will. When I’m dead I won’t be lonely any more — I’ll be joining a big party. Sometimes at the office, when the phones aren’t ringing, and when I’ve completed my daily paperwork, and when The Dwarf To Whom I Report is still out for lunch, I sit in my chest-high sage green cubicle and take comfort in knowing that since I don’t remember where I was before I was born, why should I be worried about where I go after I die?

In any event, were you to enter the cubicle farm that is Landover Communication Systems, you probably wouldn’t notice me, daydreaming or otherwise. I long ago learned to render myself invisible. I pull myself into myself, and my eyes become stale and dull. One of my favourite things on TV is when an actor is in a casket pretending to be dead, or, even more challenging, laid out on a morgue’s steel draining pan bathed in clinical white light. Did I see an eyelash flicker? Did that cheek muscle just twitch? Is the thorax pumping slightly? Is this particular fascination of mine goofy, or is it sick?

I’m alone now, and I was alone when I saw my first comet that night in the parking lot, the comet that lightened my burden in life. It made me so giddy, I chucked the rented tapes into my Honda’s back seat and went for a walk over to Ambleside Beach. For once I didn’t look wistfully at all the couples and parents and families headed back to their cars, or at the teenagers arriving to drink and drug and screw all night in between the logs on the sand.

A comet!

The sky!

Me!

The moon was full and glamorous — so bright it made me want to do a crossword puzzle under its light, just to see if I could. I took off my runners and, with them in hand, I walked into the seafoam and looked west, out at Vancouver Island and the Pacific. I remembered an old Road Runner versus Coyote cartoon — one in which the Coyote buys the world’s most powerful magnet. When he turns it on, hundreds of astonishing things come flying across the desert toward him: tin cans, keys, grand pianos, money and weapons. I felt like I’d just activated a similar sort of magnet, and I needed to wait and see what came flying across the oceans and deserts to meet me.


From the Hardcover edition.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 390 KB
  • Nombre de pages de l'édition imprimée : 272 pages
  • Editeur : Bloomsbury USA (30 décembre 2008)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B002TTICL4
  • Synthèse vocale : Non activée
  • X-Ray : Non activée
  • Moyenne des commentaires client : 3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: n°112.219 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)
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Commentaires en ligne 

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Commentaires client les plus utiles
5 internautes sur 5 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Life is a joke ! 10 août 2009
Par Pierre-yves Champenois TOP 500 COMMENTATEURS VOIX VINE™
Format:Poche
Douglas Coupland nous livre dans ce roman l'histoire d'une femme de 36 ans qui a déjà tous les attributs de la vieille fille : un boulot redondant, aucune vie amoureuse (ni sexuelle !), une famille qui la considère comme une moins que rien, un appartement triste... Le tableau est complet !

Pourtant, au fil des pages, Coupland va montrer au lecteur comme les apparences sont trompeuses. Cette femme triste va connaître une exhaltation subite et fulgurante qui va bouleverser son existence.

Si le fil narratif est archi-connu, la qualité d'analyse sociétale de Coupland nous permet de passer un agréable moment lors de la lecture de ce livre. De plus, sa capacité à décrire les sentiments permet au lecteur de véritablement palper ce que ressent l'héroïne, Liz Dunn.

Toutefois, en ancrant son roman dans la réalité d'un individu lambda, Coupland s'oblige à suivre des évènements "normaux". Aussi, lorqu'il dérape dans l'invraisemblable lors des 20-25 dernières pages, le lecteur se retrouve égaré sans avoir été prévenu dans un autre monde plus loufoque. Même si on sait que les situations les plus irréalistes surviennent dans notre quotidien, la surprise laisse un goût un peu amer lorsque l'on termine le livre.

Un bémol qui ne soit pour autant pas empêcher la lecture de ce bon livre de Douglas Coupland.
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1 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Etonnant 28 octobre 2010
Par A. Daude
Format:Poche|Achat authentifié par Amazon
Ce livre est un ovni. Le personnage principal est très intéressant et tellement touchant. Ce livre est une petite pépite.
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Amazon.com: 3.7 étoiles sur 5  42 commentaires
17 internautes sur 18 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 All the lonely people 5 février 2005
Par E. A Solinas - Publié sur Amazon.com
Format:Relié
The Beatles' "Eleanor Rigby" is a melancholy song about lonely people, isolated in the world. The same could be said of Douglas Coupland's writing -- particularly this book, "Eleanor Rigby," a look at mortality and loneliness. It's not his finest or most insightful, but it has wit and heart.

Middle-aged Liz Dunn is crabby, lonely and fat. After dental surgery, she seals herself in her apartment with a stack of sad movies, until she receives a shocking phone call. A young man ODed and ended up in the hospital -- and he claims to her son, the result of a drunken tryst when she was only a teenager in Rome. For the first time, Liz finds herself actually having to be a mom.

As if that weren't enough of a shock, Jeremy is also dying of multiple schlerosis. But he is also chipper and upbeat, unwilling to let his impending death get him down. The mother and son start to get to know each other, with the bittersweet knowledge that whatever bond they form is temporary. But Jeremy's mere presence is enough to change Liz forever.

Yeah, it sounds like a Lifetime tear-jerker. Fortunately, Douglas Coupland is able to yank the seemingly ordinary plot up by its acid-wit shoestrings. He isn't exactly known for his chipper outlook on life, but there's a certain poignant optimism to this novel. Its most memorable line is "Death without the possibility of changing the world was the same as a life that never was," challenging the bleak life that Liz is living, and defining the too-short life her son had.

At times, Coupland seems a bit too flip about Jeremy's M.S. Maybe that humor keeps the book from becoming morbid. The tone is also intimate than his prior books, since it focuses mainly on two people. His smooth, stripped-down writing style is intact, along with dry witticisms. But Coupland's acerbic style hides a surprisingly sweet center.

Liz is quite possibly the funniest lonely person in modern literature -- she takes her private misery and constantly makes fun of it, but not enough to make us take her lightly. And Jeremy is a character who easily could have been insufferable, if Coupland hadn't made him so earnest.

Coupland's ninth novel is an ode to all the lonely people -- especially those who don't necessarily have to be lonely. "All the lonely people, where do they all come from?/All the lonely people, where do they all belong?"
15 internautes sur 16 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 (this is about the Canadian edition) 6 décembre 2004
Par spoothbrush - Publié sur Amazon.com
Format:Relié
I got my copy in the mail about a week ago and have read it through twice so far. My verdict: It's good. It's quite good. I found it to be more accessible than Hey, Nostradamus!, and the pop-culture fascination that marked earlier Coupland books so strongly is much more muted here. It's clearly a Coupland work -- the same themes of the possibility of redemption, both for oneself and for the world; of loneliness in adulthood; and of the layering of time (the story frequently switches between the present, seven years in the past, and twenty years in the past) are very clearly present. In short, it's a Coupland novel. And when all of the elements of the plot coalesce, events pile up faster and faster, and it's clear that the book is coming to an end, it almost hurts.

Well, well worth a read.
11 internautes sur 12 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 "I'm that one Scrabble tile that has no letter on it." 15 mars 2005
Par Mary Whipple - Publié sur Amazon.com
Format:Relié
Like the famous Eleanor Rigby, Liz Dunn, an overweight and reclusive thirty-six-year-old woman, is lonely, living in an apartment which is not a home. While she is recuperating from oral surgery, Liz receives a surprising phone call from the police, summoning her to the hospital. A twenty-year-old man named Jeremy Buck has been picked up wearing mesh stockings and black lingerie and suffering from a drug overdose, and Liz's name is on his Medic Alert bracelet. When she meets him for the first time, he greets her as "Mom."

The novel shifts back and forth between 1997, when Liz first meets Jeremy Buck, and her earlier childhood and teen years, and then fast-forwards to 2004. It gives nothing away to say that Jeremy was obviously conceived on Liz's high school trip to Europe when she was sixteen, but she has no recollection of Jeremy's father and no awareness, for many months, that she could even be pregnant. After giving birth during a bout of "indigestion," Liz gives the baby up for adoption, until he finds her twenty years later.

Through this framework, "Generation X" author Douglas Coupland examines the nature of family life and the search for meaning. We know from the outset that Jeremy has multiple sclerosis, but he does not look to religion to provide solace or answers. Instead, he has visions, usually about farm families awaiting the end of the world, visions which bear striking resemblances to some of the issues Liz faces. As Jeremy's MS progresses, his desire to find meaning grows. "Death without the possibility of changing the world was the same as a life that never was," he believes, and he intends to live it as well as he can--with Liz.

Witty and often mordantly funny, the novel develops an edge of satire at the same time that it strives to be emotionally stirring. When Liz goes to Europe to help with a police investigation, seven years after she meets Jeremy, a comedy of errors ensues, taking the novel further into the realm of absurdity and farce. Although the novel often discusses issues of death and other Gen X concerns, the author uses a consistently light touch, keeping the tone upbeat and avoiding the details of Jeremy's final decline. The novel is not complex, nor is it subtle, with the parallels between Jeremy's visions and Liz's life fully explained by the author. Sparkling dialogue and a conclusion which carries the themes to their absurd conclusions keep the reader going, and the novel ultimately answers the big questions in the song for which it is named. Mary Whipple
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