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Ghana Must Go (Anglais) Broché – 2 janvier 2014


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Broché, 2 janvier 2014
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Descriptions du produit

Revue de presse

This book is rich and deep, mesmerizing and spectacular. At times I felt it opened a portal onto something grand and profound about love and blood and the ties that bind. Read it and you will feel what great literature can do: you will feel you are more vividly alive (Anna Funder)

Ghana Must Go is both a fast moving story of one family's fortunes and an ecstatic exploration of the inner lives of its members. With her perfectly-pitched prose and flawless technique, Selasi does more than merely renew our sense of the African novel: she renews our sense of the novel, period. An astonishing debut (Teju Cole, author of Open City)

An eye for the perfect detail . . . an unforgettable voice on the page . . . miss out on Ghana Must Go and you will miss one of the best new novels of the season (The Economist)

Taiye Selasi is the woman the literary world is drooling over . . . [Ghana Must Go] is technically ambitious, poetically dense . . . an unpredictable family story of love, abandonment, aspiration and migration (Claire Allfree Metro)

Taiye Selasi writes with glittering poetic command, a sense of daring, and a deep emotional investment in the lives and transformations of her characters . . . a powerful portrait of a broken family (Diana Evans Guardian)

A most impressive first novel. . . She manages a generous coverage of time and space with adroit concision, along with a vibrant range of characters. The family is so convincing, with those telling problems of divided culture. Very much a novel of today (Penelope Lively)

Taiye Selasi is a young writer of staggering gifts and extraordinary sensitivity. Ghana Must Go seems to contain the entire world, and I shall never forget it (Elizabeth Gilbert, author of Eat, Pray, Love)

With mesmerizing craftsmanship and massive imagination [Taiye Selasi] takes the reader on an unforgettable journey across continents and most importantly deeply into the lives of the people whom she writes about. She de-"exoticizes" whole populations and demographics and brings them firmly into the readers view as complicated and complex human beings. Ghana Must Go is a big novel, elemental, meditative, and mesmerizing (Sapphire, author of The Kid and Push)

In Ghana Must Go, Selasi drives the six characters skillfully through past and present, unearthing old betrayals and unexplained grievances at a delicious pace. By the time the surviving five convene at a funeral in Ghana, we are invested in their reconciliation--which is both realistically shaky and dramatically satisfying ... Narrative gold (Elle)

Selasi's ambition - to show her readers not "Africa" but one African family, authors of their own achievements and failures - is one that can be applauded no matter what accent you give the word (Nell Freudenberger The New York Times)

The first line of Taiye Selasi's buoyant first novel, Ghana Must Go, captures the book in miniature: "Kweku dies barefoot on a Sunday before sunrise, his slippers by the doorway to the bedroom like dogs." The springy dactylic meter of the prose (KWEku dies BAREfoot on a . . .), the sly internal rhymes (Sunday, sunrise, doorway), the surprising twist on a cliché (to die like a dog), the invigorating mixture of darkness and drollery are a big part of what makes this book such a joy... It's an auspicious how-do-you-do to the world, and nearly every page of the novel displays the same bounce and animation... rapturous. (Wall Street Journal)

Biographie de l'auteur

Taiye Selasi was born in London and raised in Massachusetts. She holds a B.A. in American Studies from Yale and an M.Phil. in International Relations from Oxford. "The Sex Lives of African Girls" (Granta, 2011), Selasi's fiction debut, appears in Best American Short Stories 2012. She lives in Rome. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.


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Amazon.com: 175 commentaires
58 internautes sur 62 ont trouvé ce commentaire utile 
"the world is too beautiful sometimes. ...There's no weight to it, no way to accept." 6 mars 2013
Par Amelia Gremelspacher - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
So Kweku Sai knows as he lies dying in his garden. He is a remarkable surgeon. He must have known he had had a cardiac event. He took no action in that golden 30 minutes between event and dying. And he was barefoot.

There are no wasted words in this extraordinary novel. Each thought and each word fits into the whole. Kweku is 58 when he dies. He has four children, an ex wife and a new wife. Each of them comes to terms with his death in ways that are unexpected to them. Much bitterness has passed. He has taught himself and them that "loss is a notion. No more than a thought." But the small moments that elude closing the door on a grief or a memory come to light.

My favorite passage in the book is his trope on his new young wife, Ama. "She is a woman who can be satisfied." She is able to see to her needs without destroying the world around her. She is happy with him, and he is amazed. His first wife and his sister and his daughter were dangerous dreamer women. They saw the world as it could be making them insatiable. Despite the fact that I am of the dangerous variety, this vision of Ama is enchanting.

Kweku died without his slippers, yes I already said that. But his slippers come to symbolize the poor village boy, with scarred feet, who has come into the world of wealth and elegance where he might wear slippers. He dies without them in his wonderful house, back in Acra, overseeing the sea. The rest of the book is coming to terms. And to teach without being precious or hackneyed, the world is beautiful.
33 internautes sur 37 ont trouvé ce commentaire utile 
Ghana Must Go, 3.5/5. 21 mars 2013
Par TrishNYC - Publié sur Amazon.com
Format: Relié Commentaire client Vine pour produit gratuit ( De quoi s'agit-il? )
Kweku Sai finally meets his end in the midst of remembering. He remembers his daughter, the beautiful Taiwo, his wife, the unreadable Fola and most of all he remembers how he abandoned his family, running from America to Ghana. Through his eyes we watch a family as it is being built, through struggles, hardships and fleeting triumph only to be torn apart and seemingly destroyed beyond repair.

Ghana Must Go started off as a challenging read for me because the first 50 or so pages are grossly overwritten. For one thing, Kweku's death is relived by the reader at least four times in the first half of the book. Each time the death is revisited, it is perceived from a slightly different vantage point. To me, these retellings of the same incident in no way adds anything to the story's trajectory in any meaningful extent that would justify the repetition. There was also a lot of jumping back and forth between past and present and this inability to stay on one idea sometimes made the story hard to comprehend and connect with in a sustainable way. In the first half of the book, a number of people asked me if the book was good and I would respond with a very frustrated "I have no idea cause it won't get to the point."

Another very frustrating thing about the book was the way it segues into random philosophical musings. Rather than make me more attached to the story, these musings drew me away in a most jarring fashion. For example, there is a scene where Kweku goes looking for a carpenter. When he gets to the location, he is met by a little boy who is to be his guide in finding said carpenter. Here the story suddenly segues into four to five paragraphs about smiling children from impoverished circumstances and the implications of their cheerfulness even in the face of adversity. While these kinds of segues may have been interesting in their own right when inserted seemingly out of nowhere, all it did was distract me from the narrative.

But I forced myself to read on because there was a lot of beautiful writing that made me marvel at the author's skill with words.

This story like most stories of tortoured families is littered with the aftermath of loss, pain, sadness and all the things left unsaid. The Sai family is forced by the death of the errant father to confront all they have been running from, hoping never to deal. After I got beyond the overwritten first half, I was faced with a sad portrait of a family that despite their efforts to ignore his influence have never quite recovered from being abandoned. When reading stories like this, I always find myself aggravated by all the things that characters fail to say to each other that later lead to deep and far reaching problems. But I always have to remind myself that this is not only the provence of stories but a fact of real life. Human beings really do fail to communicate their real feelings to each, fail to connect at crucial moments and by so doing hurt each other, sometimes irreparably.

This book like it's characters is far from perfect but if you can make it past the sleepy writing style and pace in the first half, you will discover an interesting and haunting tale.
25 internautes sur 29 ont trouvé ce commentaire utile 
Didn't want it to end 7 mars 2013
Par Read-A-Lot - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
Absolutely terrific. A stunning debut. This is a family tale, told with such realism the prose just sings off the page. She describes one character thusly, "Ama isn't a fighter. She comes to breakfast without weapons and to bed in the evening undressed and unarmed." Damn! This is the kind of writing you will be treated to when you read this novel. The story evolves in a circular manner, which keeps things tense and exciting.

The novel opens with the death of Kweku Sai, a father, husband and renowned surgeon. We learn of this man's life and his children through looking back, but not in a linear way, but in a orbitual way, with the prose always shining. Kweku and his first wife have four children, who are given complexity and depth by Ms. Selasi's brilliant writing. Kweku has struggled hard to reach the heights of his profession, hailing from Ghana, to succeed in America, the often untold immigrant story, vividly on display here. His dutiful and beautiful wife Fola has borne him four children and has been a loyal partner. The family suddenly unravels due to a very unfortunate event. Or rather Kweku's response to this event. The domino effects of Kweku's decision will affect wife and children.

The fallout is quite disruptive and leads to a splintering of the family. The author skillfully weaves the differing perspectives of how this situation has impacted wife and children, over a number of years and numerous places. The children's stories are captivating and unforgettable, leaving an impression long after you've finished the book. Essentially, the novel seeks to answer the question of how does a family repair and recover, is it even possible? Was family ever a reality?

I think the book description sums it up best, "What is revealed in their coming together is the story of how they came apart..."

This is simply a great book, I guarantee you will find this novel on many top ten novel lists. Trust me!
19 internautes sur 22 ont trouvé ce commentaire utile 
One of many troubled family books. 30 mars 2013
Par muddyboy1 - Publié sur Amazon.com
Format: Relié
At the current time I am reading two books similar to this one (troubled family plots). The book is about a troubled family trying to come to terms with itself. What makes it a bit different is that a lot of the action takes place in Africa. The story centers around the death of the family "patriarch" and the assembling of the family at his death. The story is decent but the two things that bother me are that the author in my opinion tries to be too "artsy" using lots of one and two word sentences for effect I guess. The other thing is that she is vague as to exacting who is speaking and what characters thoughts we a delving into so I had to reread a lot of passages. The characters are also not particularly engaging to me.
10 internautes sur 11 ont trouvé ce commentaire utile 
This is why I read... 24 mai 2013
Par mateo52 - Publié sur Amazon.com
Format: Relié Commentaire client Vine pour produit gratuit ( De quoi s'agit-il? )
Shamelessly, I am going to plagiarize (in a sense) a comment from another reviewer about a different novel but equally as much as it applied there, so too is it apropos here:

`Give this lady money. She will create beautiful things.'

I can only hope that I come across another novel this year that in its' entirety, I consider of commensurate or greater quality to Ms. Selasi's but I seriously doubt I will be that fortunate. For anyone cracking the spine of this profound novel, the immediate association with the works of Toni Morrison is most likely inevitable, and as Professor Morrison is mentioned in the acknowledgments afterward, it does not seem to be unreasonable frame of reference for the reader. The thing about Morrison's books, particularly the early works, is how much I always loath the thought of starting them. For the first chapter or so, my mind set is always why do I have to labor so much to get the sub-text, why doesn't she just state what she means instead of phrasing it in a manner that makes me re-read every sentence two or three times? Then, I get into the flow and a sense of regret commences as I realize the aesthetically captivating prose I have grown to embrace, vibrant in manners I am convinced I will have to search long and hard to ever experience again are destined to end....until the whole process was repeated with her next book.

If Morrison is the call, Selasi most assuredly has the response. At the outset, I was somewhat ill at ease as the book commenced with a glossary of pronunciations for the numerable interspersed Nigerian and Ghanaian names so the idea naming conventions might serve as a distraction was seeded in the consciousness immediately. It took longer for me to finish than is customary with a story of this length but my initial concern dissipated within pages as the richness of her writing obviated any scintilla of encumbrance related to unfamiliarity with terminology, ironically to be replaced by percolation of a new potential worry, that at some point, the book would be completed and I would have to seek out something of relatively comparable quality to follow it.

At first blush, Ghana Must Go reads as a story of estrangement, re-unification and the pursuit of closure as the members of the Sai family are compelled to return to their roots, if not precisely their individual homelands, in Ghana upon the death of Kweku Sai, a renowned surgeon who succumbs to cardiac arrest in his garden at a relatively young age, years after he had abandoned his wife and four children.

Segmented in three parts, the opening section might be the proverbial life assessment some believe will occur at the moment of expiration as Sai, curiously barefooted and confusingly uninitiated for one with his medical credentials recants the events of his existence that have combined to bring him to this juncture.

Section two is constructed most significantly with the distinctive experiences of his ex-wife and progeny, each with an individualized perception of their roles in the family unit and the correlative adjustments that transpired succeeding the abrupt departure of the patriarch at a time where it appeared this family of non-American Blacks was ensconced and thriving in the presumptive advantages of western society.

With the continuation of the journey to catharsis in part three, the breaks or wounds of each family member whether emotional, spiritual, psychological or physiological, that have calcified over time are scrapped raw and reopened in an atmosphere where continued sublimation or reticence is not a viability. Each major character is vibrant, memorable with frailties and strengths imbued with equal voice. While the backdrop of Ghana or Nigeria, or for that matter the HBCU Lincoln University may be unfamiliar to many readers, there is a universality to the thematic underpinnings I cannot imagine any reader would find some aspect of personal identification or inculcated values. Selasi takes the concept of "otherness" and through her characters skillfully elucidates even when one might have an solipsistic understanding of one's status in the complexities of family dynamics, the constraints of dependence on individualized breadth of knowledge may very often render one's perceptions to be entirely sophistic. Ms Selasi writes with in a near to hypnotic lyrical style, reminiscent of jazz cadence, occasionally so enthralling it is quite conceivable many of the brilliant observations like "the Black Power solution to the Bluest Eye problem" may be unappreciated at first encounter but moments later will bring a smile to the reader's visage.

I do not typically grade on a curve for an author's first novel and this outstanding work from Ms. Selasi is confirmation for me why I should never modify my view. First or fiftieth, the novel is an luminescent effort.
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