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A Long Way Down [Anglais] [Broché]

Nick Hornby , Sophie Thompson , Walter Lewis , Morwenna Banks , Neil Pearson
3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
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Description de l'ouvrage

3 juin 2010 VIKING FIC PB
A Long Way Down by Nick Hornby is a tragicomic tale of strangers and secrets'Can I explain why I wanted to jump off the top of a tower block?'For disgraced TV presenter Martin Sharp the answer's pretty simple: he has, in his own words, 'pissed his life away'. And on New Year's Eve he's going to end it all . . . but not, as it happens, alone. Because first single-mum Maureen, then eighteen-year-old Jess and lastly American rock-god JJ turn up and crash Martin's private party. They've stolen his idea - but brought their own reasons.Yet it's hard to jump when you've got an audience queuing impatiently behind you. A few heated words and some slices if cold pizza later and these four strangers are suddenly allies. But is their unlikely friendship a good enough reason to carry on living?Shortlisted for the 2005 Whitbread Award and the Commonwealth Writers Prize, A Long Way Down is a darkly hilarious and moving novel by bestselling author Nick Hornby. If you like Jonathan Coe, David Sedaris and David Nicholls, you will love this book. 'A page-turning plot and rich, funny characters with several big laughs on every page. . . Hornby's best yet' Literary Review'Hornby's best novel to date, impossible to put down. . . how can an examination of four people's anguish be so enthralling?' Ruth Rendell, Guardian'Masterful. . . some of the finest writing, and some of the most outstanding characters I've ever had the pleasure of reading' Johnny Depp Nick Hornby has captivated readers and achieved widespread critical acclaim for his comic, well-observed novels About a Boy, How to be Good, Juliet, Naked, Slam and High Fidelity. His three works of non-fiction, 31 Songs (shortlisted for the National Book Critics Circle Award), Fever Pitch (winner of the William Hill Sports Book of the Year Award) and The Complete Polysyllabic Spree are also available from Penguin.

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Descriptions du produit



Can I explain why I wanted to jump off the top of a tower block? Of course I can explain why I wanted to jump off the top of a tower block. I'm not a bloody idiot. I can explain it because it wasn't inexplicable: it was a logical decision, the product of proper thought. It wasn't even very serious thought, either. I don't mean it was whimsical - I just meant that it wasn't terribly complicated, or agonised. Put it this way: say you were, I don't know, an assistant bank manager, in Guildford. And you'd been thinking of emigrating, and then you were offered the job of managing a bank in Sydney. Well, even though it's a pretty straightforward decision, you'd still have to think for a bit, wouldn't you? You'd at least have to work out whether you could bear to move, whether you could leave your friends and colleagues behind, whether you could uproot your wife and kids. You might sit down with a bit of paper and draw up a list of pros and cons. You know:

CONS - Aged parents, friends, golf club.

PROS - more money, better quality of life (house with pool, barbecue etc), sea, sunshine, no left-wing councils banning Baa-Baa Black Sheep, no EEC directives banning British sausages etc. It's no contest, is it? The golf club! Give me a break. Obviously your aged parents give you pause for thought, but that's all it is - a pause, and a brief one, too. You'd be on the phone to the travel agents within ten minutes.

Well, that was me. There simply weren't enough regrets, and lots and lots of reasons to jump. The only things in my 'cons' list were the kids, but I couldn't imagine Cindy letting me see them again anyway. I haven't got any aged parents, and I don't play golf. Suicide was my Sydney. And I say that with no offence to the good people of Sydney intended.


I told him I was going to a New Year's Eve party. I told him in October. I don't know whether people send out invitations to New Year's Eve parties in October or not. Probably not. (How would I know? I haven't been to one since 1984. June and Brian across the road had one, just before they moved. And even then I only nipped in for an hour or so, after he'd gone to sleep.) But I couldn't wait any longer. I'd been thinking about it since May or June, and I was itching to tell him. Stupid, really. He doesn't understand, I'm sure he doesn't. They tell me to keep talking to him, but you can see that nothing goes in. And what a thing to be itching about anyway! But it goes to show what I had to look forward to, doesn't it?

The moment I told him, I wanted to go straight to confession. Well, I'd lied, hadn't I? I'd lied to my own son. Oh, it was only a tiny, silly lie: I'd told him months in advance that I was going to a party, a party I'd made up. I'd made it up properly, too. I told him whose party it was, and why I'd been invited, and why I wanted to go, and who else would be there. (It was Bridgid's party, Bridgid from the Church. And I'd been invited because her sister was coming over from Cork, and her sister had asked after me in a couple of letters. And I wanted to go because Bridgid's sister had taken her mother-in-law to Lourdes, and I wanted to find out all about it, with a view to taking Matty one day.) But confession wasn't possible, because I knew I would have to repeat the sin, the lie, over and over as the year came to an end. Not only to Matty, but to the people at the nursing home, and....Well, there isn't anyone else, really. Maybe someone at the Church, or someone in a shop. It's almost comical, when you think about it. If you spend day and night looking after a sick child, there's very little room for sin, and I hadn't done anything worth confessing for donkey's years. And I went from that to sinning so terribly that I couldn't even talk to the priest, because I was going to go on sinning and sinning until the day I died, when I would commit the biggest sin of all. (And why is it the biggest sin of all? All your life you're told that you'll be going to this marvellous place when you pass on. And the one thing you can do to get you there a bit quicker is something that stops you getting there at all. Oh, I can see that it's a kind of queue-jumping. But if someone jumps the queue at the Post Office, people tut. Or sometimes they say, 'Excuse me, I was here first.' They don't say, 'You will be consumed by hellfire for all eternity.' That would be a bit strong.) It didn't stop me from going to the Church, or from taking Mass. But I only kept going because people would think there was something wrong if I stopped.

As we got closer and closer to the date, I kept passing on little tidbits of information that I told him I'd picked up. Every Sunday I pretended as though I'd learned something new, because Sundays were when I saw Bridgid. "Bridgid says there'll be dancing." "Bridgid's worried that not everyone likes wine and beer, so she'll be providing spirits." "Bridgid doesn't know how many people will have eaten already." If Matty had been able to understand anything, he'd have decided that this Bridgid woman was a lunatic, worrying like that about a little get-together. I blushed every time I saw her at the Church. And of course I wanted to know what she actually was doing on New Year's Eve, but I never asked. If she was planning to have a party, she might've felt that she had to invite me.

I'm ashamed, thinking back. Not about the lies - I'm used to lying now. No, I'm ashamed of how pathetic it all was. One Sunday I found myself telling Matty about where Bridgid was going to buy the ham for the sandwiches. But it was on my mind, New Year's Eve, of course it was, and it was a way of talking about it, without actually saying anything. And I suppose I came to believe in the party a little bit myself, in the way that you come to believe the story in a book. Every now and again I imagined what I'd wear, how much I'd drink, what time I'd leave. Whether I'd come home in a taxi. That sort of thing. In the end it was as if I'd actually been. Even in my imagination, though, I couldn't see myself talking to anyone at the party. I was always quite happy to leave it.


I was at a party downstairs in the squat. It was a shit party, full of all these ancient crusties sitting on the floor drinking cider and smoking huge spliffs and listening to weirdo space-out reggae. At midnight, one of them clapped sarcastically, and a couple of others laughed, and that was it - Happy New Year to you too. You could have turned up to that party as the happiest person in London, and you'd still have wanted up to jump off the roof by five past twelve. And I wasn't the happiest person in London anyway. Obviously.

I only went because someone at college told me Chas would be there, but he wasn't. I tried his mobile for the one zillionth time, but it wasn't on. When we first split up, he called me a stalker, but that's like an emotive word, 'stalker', isn't it? I don't think you can call it stalking when it's just phone calls and letters and emails and knocking on the door. And I only turned up at his work twice. Three times, if you count his Christmas party, which I don't, because he said he was going to take me to that anyway. Stalking is when you follow them to the shops and on holiday and all that, isn't it? Well, I never went near any shops. And anyway I didn't think it was stalking when someone owed you an explanation. Being owed an explanation is like being owed money, and not just a fiver, either. Five or six hundred quid minimum, more like. If you were owed five or six hundred quid minimum and the person who owed it to you was avoiding you, then you're bound to knock on his door late at night, when you know he's going to be in. People get serious about that sort of money. They call in debt collectors, and break people's legs, but I never went that far. I showed some restraint.

So even though I could see straight away that he wasn't at this party, I stayed for a while. Where else was I going to go? I was feeling sorry for myself. How can you be eighteen and not have anywhere to go on New Year's Eve, apart from some shit party in some shit squat where you don't know anybody? Well, I managed it. I seem to manage it every year. I make friends easily enough, but then I piss them off, I know that much, even if I'm not sure why or how. And so people and parties disappear.

I pissed Jen off, I'm sure of that. She disappeared, like everyone else.


I'd spent the previous couple of months looking up suicide inquests on the Internet, just out of curiosity. And nearly every single time, the coroner says the same thing: "He took his own life while the balance of his mind was disturbed." And then you read the story about the poor bastard: his wife was sleeping with his best friend, he'd lost his job, his daughter had been killed in a road accident some months before.... Hello, Mr Coroner? Anyone at home? I'm sorry, but there's no disturbed mental balance here, my friend. I'd say he got it just right. Bad thing upon bad thing upon bad thing until you can't take any more, and then it's off to the nearest multi-storey car park in the family hatchback with a length of rubber tubing. Surely that's fair enough? Surely the coroner's inquest should read, "He took his own life after sober and careful contemplation of the fucking shambles it had become"?

Not once did I read a newspaper report, which convinced me that the deceased was off the old trolley. You know: "The Manchester United forward, who was engaged to the current Miss Sweden, had recently achieved a unique Double: he is the only man ever to have won the FA Cup and an Oscar for Best Actor in the same year. The rights to his first novel had just been bought for an undisclosed sum by Stephen Spielberg. He was found hanging from a beam in his stables by a member of his staff." Now, I've never seen a coroner's report like that, but if there were cases in which happy, successful, talented people took their own lives, one could safely come to the conclusion that the old balance was indeed wonky. And I'm not s...

--Ce texte fait référence à l'édition Broché .

Revue de presse

"A dramatic, sad and thoroughly side-splitting novel." —Newsday

"Wildly enjoyable. A daring high-wire act. It's serious literature...no, it's popular entertainment...no, it's both!" —Seattle Times

"Time's stealthy tread, its unseen ability to heal some wounds while inflicting others, gives Nick Hornby's darkly comic new novel, A Long Way Down, its genuine power." —San Francisco Chronicle


--Ce texte fait référence à l'édition Broché .

Détails sur le produit

  • Broché: 272 pages
  • Editeur : Penguin; Édition : Open Market edition (3 juin 2010)
  • Collection : VIKING FIC PB
  • Langue : Anglais
  • ISBN-10: 9780241950234
  • ISBN-13: 978-0241950234
  • ASIN: 0241950236
  • Dimensions du produit: 18 x 11 x 2 cm
  • Moyenne des commentaires client : 3.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 20.740 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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1 internautes sur 1 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Un roman trop ambitieux 3 juin 2012
Quatre personnes ayant décidé de se suicider le soir du Nouvel An se retrouvent par hasard au sommet du même immeuble. Cette rencontre va bouleverser leur projet et les rapprocher au long des semaines suivantes.

Nick Hornby, dont j'ai beaucoup apprécié "About a Boy", s'attaque ici à un projet trop ambitieux: parler d'un thème grave (le suicide) avec sérieux et émotion, tout en préservant l'humour. Ca ne fonctionne pas vraiment. Les personnages, plutôt pathétiques, n'ont pas un vrai potentiel comique. Et finalement, quoiqu'en disent les nombreuses critiques élogieuses en début de mon édition, j'ai trouvé l'ensemble peu convaincant.
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4.0 étoiles sur 5 What I thought 30 mars 2014
Par zoss
Format:Format Kindle|Achat authentifié par Amazon
it was a interesting book,very thought provoking.the subject was depressing,but it was addressed in a up beat way.I think everybody finds themselves contemplating life and death sometimes in their lives.
I would recommend this book to my friends.you feel like you have to find out how the characters get on

star rating 4 out of 10.
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Commentaires client les plus utiles sur Amazon.com (beta)
Amazon.com: 3.6 étoiles sur 5  317 commentaires
140 internautes sur 149 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Not a Downer at All 9 juin 2005
Par C. Johnson - Publié sur Amazon.com
I enjoyed Hornby's inventive approach to this seemingly dark topic, suicide. I expected a somber read, but found myself laughing out loud several times. He doesn't take the questions of Life and Death too lightly, nor does he take them too seriously. He finds the perfect mix of melancholia, humor, depression, and excitement.

Hornby writes the book in first person, but the point of view is passed around between the four main characters. My main concern when I discovered this format was that I was going to be re-living events through the four characters eyes, constantly back-tracking in time to get all points of view. Fortunately, Hornby avoids this pitfall by never having the story fold back on itself. This preserves the forward motion of the story. The reader is left with the impression that four very different people have written their personal memoirs and an editor deftly pieced them together to create a moving story. We've all read books where a young girl is speaking and you just can't get it out of your head that a middle-aged man is writing how he imagines a young girl would speak. Hornby doesn't have that problem. He writes from the point of view of different ages, sexes, and nationalities. You don't feel the heavy hand of the author weighing down their words. So in the end, Hornby's fiction feels like non-fiction.

While Hornby creates and develops his convincing characters, he includes insightful commentary on current London (and global) culture, such as the "Starbuck-ing" of the world, tabloid culture, and our obsession with celebrity. He doesn't necessarily condemn these things, he just starts conversations about them, or rather his characters do. Hornby takes some highly unlikeable people and fleshes them out so the reader cares what they think, and most importantly cares if they live or die.

I didn't really enjoy Hornby's last book, "How to be Good." I agree with several Amazon reviewers of HTBG who wrote something like, "That was an interesting premise and a fun ride, but what was the point?" I felt like I had wasted a few days of reading. "A Long Way Down" begins in a manner similar to "How to be Good," an intriguing but highly implausible exposition that shows great promise. While reading I was saying to myself, "Don't burn me again Hornby! Don't take me on this wild journey for no apparent reason!" Fortunately, "A Long Way Down" has a point. Not one I can sum up in a few sentences, but a point nonetheless.

There's no way to discuss the plot without ruining the book for you. Just order the book and enjoy a brilliant summer read.
59 internautes sur 64 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Four Sorrowful Stories; One Hilarious Novel 16 août 2005
Par Antoinette Klein - Publié sur Amazon.com
When I read this was a very funny book about four people who try to commit suicide, I was intrigued. I had never read a book by Nick Hornby, but couldn't imagine how such a serious subject could be treated lightly and still be in good taste. Amazingly, Hornby seems to pull this feat off exceedingly well for even though you are saddened by their situations, the laugh-out-loud moments are many and the emotional delving that is done with intelligence and wit make this a rewarding read.

The four protagonists are: Martin, a tv talk-show host whose antics invite public humiliation; Maureen, an older woman and mother of a son who is more vegetable than human; Jess, a young girl who redefines the term deranged personality; and JJ, an American rock star wannabe dropped by both his band and his girl. When these four lost souls meet at the top of a London tower on New Year's Eve, a most unlikely bonding occurs.

Hornby explores the reasons people are brought to the brink of suicide, the reasons some jump and some don't, and most importantly, what it is that makes unhappy people keep on plugging away at finding a better life.

The writer does an excellent job of giving each of the protagonists a unique voice. While the story is told in rotation by each of the four, the reader is never confused as to the person narrating, and that is a remarkable accomplishment, especially since he writes in first person as old, young, male, and female.

Both grim and humorous, and liberally laced with pop culture references, this is a book you'll want to think about long after the last page is read.
24 internautes sur 25 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Not as good as High Fidelity � but still worth a read 7 juin 2005
Par Francisco J Munoz - Publié sur Amazon.com
As comic novels go, this book takes on a frightfully tricky subject: suicide.
On New Year's Eve in North London, four lost souls go to a roof of a particularly famous suicide point called "Topper's House" to leap - only to discover a traffic jam (themselves), and, instead of jumping, end up striking up an uneasy alliance/friendship. ("Even though we had nothing in common beyond that one thing," as the character Martin states at one point.) That's the high-concept opening and theme of this novel, in a nutshell.
The four characters:
MARTIN: a disgraced, morning talk-show host who served time in jail for sleeping with an underage girl. Divorced by his wife, humiliated by the media.
MAUREEN: a middle-aged, self-sacrificing (and long-suffering) single mom whose only son is a virtual vegetable. A Catholic who states (p. 77): "I don't believe in luck as much as punishment." She had sex once, with only one man - which resulted in a child, the cross she had to bear (and could no longer bear).
JESS: a bratty, impulsive, volatile, foul-mouthed rebel teen, daughter of a well-known government official.
JJ: a 30-ish "failed" American musician (leader of the defunct cult band, Big Yellow) - now turned pizza delivery boy. (A character most resembling Rob from High Fidelity)
The novel is told from the point of view of these four characters - that is, in alternating monologues (reminding me of William Faulkner's As I Lay Dying - one of Oprah's Summer picks).
At one point a significant reference is made to Virginia Woolf's To The Lighthouse, in which the character of Jess suggests the author "killed herself because she couldn't make herself understood."
What's unfolds then, in this novel, is the characters finding the WORDS to their despair.
The humor. Given this horribly dark subject matter, Nick Hornby continually finds a way to make his material and situations amusing.
Finding this horribly dark subject matter amusing.
Part of the problem with Nick Hornby is that he is a comic novelist in the traditional sense. (As with Shakespeare's comedies, it is the happy ending that defines it as such.)
I kept thinking that this novel might work better as a play or a skit. The opening on the roof is very theatrical, almost like a Samuel Beckett play (full of gallows humor). There rest of the book, essentially, is a series of monologues.
Some people may find A Long Way Down a little shallow, a little contrived and glib, like a TV sitcom run amok. Hornby constantly undermines the seriousness of his subject matter in order to make it bearable; but in doing so he also undermines the weight of it; in a way, he sort of paints himself into a corner from the beginning. The rest of the novel is about Hornby writing himself out of the hole. Give him credit for courage, though.
All the negative aspects aside -- there are A LOT of laugh-out-loud passages in this book; there's enough humor and wit and liveliness for me to recommend it. His writing is still a pleasure to read, his characters full of attitude and intensely likeable, and after The Loser's Club: Complete Restored Edition by Richard Perez (another recent Amazon favorite of mine), I'm still recommending Nick Hornby's A Long Way Down. Maybe not his best -- High Fidelity still commands that spot -- but still good, a comic novel stretching the limits of what a comic novel should be.
34 internautes sur 38 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fantastic - what else can I say? 8 juin 2005
Par Craig - Publié sur Amazon.com
I'd read the review for this months ago in Kirkus, and my first thought was, "How is Hornby going to pull off a book around such an odd topic?" Well, I should have known better than to worry, as Hornby pulls it off with humor and great flair.

As you probably already know, the plot involves 4 people who meet while preparing to jump to their deaths from a famous suicide spot. Instead of doing so, they band together to form one of the strangest support group/families you'll ever read about.

I think many who read this one will feel bad about laughing out loud at certain passages, given the darkness of the subject. However, the ability to make us do that, to be able to laugh at topics like death and suicide, is what makes Hornby a great writer. Even in deadly serious situations, he's able to inject his wit and make us take things just a little bit lighter.

I've been waiting for this one, and it was well worth the wait. Not only do I feel like my expectations and anxieties were met, but that they were easily surpassed. I can't recommend this one highly enough. With all the poor fiction that gets released every week, it's such a great feeling when a gem like this one comes along.
20 internautes sur 21 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 uneven and disappointing, funny at times 8 octobre 2005
Par B. Capossere - Publié sur Amazon.com
A Long Way Down starts with the sort of implausible premise--four strangers meet while attempting to commit suicide from the same rooftop--that will make some readers groan at the start. But the premise isn't the problem here; it's what comes afterward.

The opening scene that brings all the characters together is like the book itself a mixed bag. It reads at various times extremely funny, forced, glib, and worst of all, dull. The characters themselves come from all walks of life--class, geography, religion, family relationships, but their voices are surprisingly uniform in this first scene and for too long afterward. They eventually do sharpen and wander away from each other, but it takes a while. One's reaction to them will probably depend as much on the reader's background/personality as on Hornby's skill in character creation. I didn't find much to like in any of them, which certainly colored my reaction to the novel--I simply didn't care enough about any of the characters to overlook some of its flaws.

The structure was also problematic for me. Long Way Down is told from all four viewpoints but so many of the sections were too short or too glibly self-aware, robbing them of depth or power. Settling in for some longer time with each of them would have helped.

The plot sort of meanders from one ludicrous scene to another--some of them working, some of them not so much--an appropriate method for these characters (as is the way the book refuses to wrap things up nice and neat) but one that also robs the book somewhat of the ability to move a reader.

Overall, the book fell flat for me--the plot never compelled, the characters never formed a strong hold on me, the themes were too shallowly explored, and the structure was more of an obstacle than an enhancement. It's funny in many places, readable in most, but it doesn't go much beyond that.
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