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Stone Arabia: A Novel [Anglais] [Relié]

Dana Spiotta


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Description de l'ouvrage

12 juillet 2011
Stone Arabia, Dana Spiotta’s moving and intrepid third novel, is about family, obsession, memory, and the urge to create—in isolation, at the margins of our winner-take-all culture.

In the sibling relationship, “there are no first impressions, no seductions, no getting to know each other,” says Denise Kranis. For her and her brother, Nik, now in their forties, no relationship is more significant. They grew up in Los Angeles in the late seventies and early eighties. Nik was always the artist, always wrote music, always had a band. Now he makes his art in private, obsessively documenting the work, but never testing it in the world. Denise remains Nik’s most passionate and acute audience, sometimes his only audience. She is also her family’s first defense against the world’s fragility. Friends die, their mother’s memory and mind unravel, and the news of global catastrophe and individual tragedy haunts Denise. When her daughter, Ada, decides to make a film about Nik, everyone’s vulnerabilities seem to escalate.

Dana Spiotta has established herself as a “singularly powerful and provocative writer” (The Boston Globe) whose work is fiercely original. Stone Arabia—riveting, unnerving, and strangely beautiful—reexamines what it means to be an artist and redefines the ties that bind.

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Extrait

She always said it started, or became apparent to her, when their father brought him a guitar for his tenth birthday. At least that was the family legend, repeated and burnished into a shared over-memory. But she did really think it was true: he changed in one identifiable moment. Up until that point, Nik’s main occupations had been reading Mad magazine and making elaborate ink drawings of dogs and cats behaving like far-out hipsters. He had characters—Mickey the shaggy mutt who smoked weed and rode motorcycles; Linda the sluttish afghan who wore her hair hanging over one eye; and Nik Kat, his little alter ego, a cool cat who played pranks and escaped many close calls. Nik Kat addressed the reader directly and gave little winky comments about not wanting you to turn the page. Denise appeared as Little Kit Kat, the wonder tot. She had a cape and followed all the orders Nik Kat gave her. Nik made a full book out of each episode. He would make three or four copies with carbon paper and then later make more at some expense at the print shop, but each of the covers was created by hand and unique: he drew the images in Magic Marker and then collaged in pieces of colored paper cut from magazines. Denise still had Nik’s zines in a box somewhere. He gave one copy to her and Mom (they had to share), one to his girlfriend of the moment (Nik always had a girlfriend), one was put in a plastic sleeve and filed in his fledgling archives, and one went to their father, who lived in San Francisco.

Nik would take his father’s issue, sign it, and write a limited-edition number on it before taping it into an elaborate package cut from brown paper grocery bags. He would address it to Mr. Richard Kranis. (Always with the word Kronos written next to it in microscopic letters. This alluded to an earlier time when each person in Nik’s life was assigned the name and identity of a god. Naturally his dad was Kronos, and even though Nik had long ago moved on from his childish myths-and-gods phase, their father forever retained his Kronos moniker in subtle subscript.) Nik would draw all over the package, making the wrapping paper an extension of the story inside. After he mailed it off to his father, he recorded the edition numbers and who possessed them in his master book. Even then he seemed to be annotating his own life for future reference. “Self-curate or disappear,” he would say when they were older and Denise began to mock him for his obsessive archiving.

Denise didn’t think their father ever responded to these packages, but maybe he did. She never asked Nik about it. Her father would send a couple of toys in the mail for their birthdays, but not always, and not every birthday. She remembered him visiting a week after Christmas one year and bringing a carload of presents. He gave Denise a little bike with removable training wheels and sparkly purple handlebar tassels. But the most significant surprise was when he turned up for Nik’s tenth birthday.

Nik and Denise lived on Vista Del Mar about two blocks from the Hollywood Freeway. Their mother rented a small white stucco bungalow. (In his comics Nik dubbed the house Casa El Camino Real, which later became Casa Real—pronounced “ray-al” or “reel,” depending on how sarcastic you were feeling—and they found it forever amusing to always refer to it that way; eventually even their mother called it Casa Real. By the time Nik was in high school, he had become one of those people who gives names to everything: his car, his school, his bands, his friends. One who knew him well—say, Denise—could tell his mood by what nickname he used. The only things that didn’t get nicknames were his guitars. They were referred to by brand names—the Gibson—or by categories—the bass—and never as, say, his axe, and he never gave them gender-specific pronouns, like “she’s out of tune.” Giving nicknames to his gear seemed unserious to him.)

When they first moved in to Casa Real, Nik had his own room while Denise shared a room with her mother. Later on Denise got Nik’s room and Nik made the back dining room—with its own door leading outside—into his spacious master bedroom/smoking den/private enclave. Later still he would commandeer the entire garage. Nik stapled carpet remnants on the walls and made a soundproof recording and rehearsal studio.

For his tenth birthday, Nik wanted to go to the movies with a couple of friends and then have a cookout in the backyard with cake and presents. That was the plan. Nik wanted to see Dr. Strangelove, but Denise was too little, so they went to the Campus on Vermont Avenue to see the Beatles movie A Hard Day’s Night. Nik was a bit of a Beatle skeptic; he had the 45s, but he wasn’t sure it wasn’t too much of a girl thing. The movie erased all his doubt. Denise remembered how everything about it thrilled them—the music, of course, but also the fast cuts, the deadpan wit, the mod style, the amused asides right into the camera. The songs actually made them feel high, and in each instance felt permanently embedded in their brains by the second repetition of the chorus. They stayed in their seats right through the credits. If it wasn’t for the party, there was no question they would have watched it again straight through.

When Denise reluctantly followed Nik out into the afternoon light, it shocked her to discover the world was just as they had left it. There it stood in hot, hazy, Beatle-free color. No speed motion and no guitar jangle. But it didn’t matter, because they still had the songs in their heads, and they knew they would go to see the movie again as soon as they could. They took the bus to Hollywood Boulevard to look at records. Then they walked from Hollywood Boulevard up to Franklin, and Nik began to sing the songs from the film a cappella; he could perfectly mimic the phrasing of each Beatle vocal. Nik could also imitate the Liverpool accents, and he already knew some of the lines by heart (We know how to behave! We’ve had lessons!). They walked single file through the tunnel that went under the freeway (He’s very fussy about his drums, you know. They loom large in his legend). Nik and Denise were still movie-drunk when they turned onto Vista Del Mar.

Their father’s car sat in the driveway, a white Chrysler Imperial. Nik started to run down the block.

They found him in the backyard with their mother. He hadn’t brought his girlfriend, and he was wearing a sport coat even though it was very warm in the late-afternoon sun. Nik ran over to him and they hugged. Denise only stared at him. She was tiny for seven, with delicate features. She didn’t look like a baby, but more like a perfect miniature girl. She hadn’t seen her father in a long time, and she truthfully didn’t feel very familiar around him. He got up and grabbed her around the waist with both hands. He was very tall. Denise would always have trouble remembering his face—she could see it in photographs, but she couldn’t conjure it as it looked in real life. She could distinctly recall the feel of his hands gripping her. He lifted her up and squeezed her to his chest. Then he put her in the ledge of one bent arm and brushed her cheek with his hand. “Soft,” he said, and grinned. In photos Denise’s father looks like one of those character actors from the fifties: he is tall and broad and has exaggerated features. He is not unhandsome. He has clear olive skin and dense shiny black hair. But he also looks a little bloated around his eyes and nose, and he looks older than he should. Now when she studies photos of him, he appears to be a man well on his way to an early heart attack, a man who clearly ate and drank too much. But when he held her then, she noticed only how good he smelled, how big his body was. When he held you, he became your entire landscape. She felt shy, but she let him carry her, kiss her cheek, and gently tug her braids.

Nik and Denise would later agree that their father was awful. He randomly appeared and then one day he was just gone forever. “He would have been a great uncle,” Nik said to her the last time they had discussed it. “The perfect present-carrying once-a-year uncle who can give you a report on how big you are and then wrestle with you for a minute before pouring himself a scotch and leaving the room.” Their father left their mother when Nik was five, so he had some memories of living with him. Denise was two and had none. And before Nik turned eleven, their mother would wake them one Saturday morning and tell them their father had died. Nik would cry, sitting in his pajamas on the couch. Denise’s mother also cried. Denise had to go to her room and stare at the picture she had of her father in her photo album. She really had to concentrate: He’s dead, and I will never, ever see him again. And finally, staring at his photo, she, too, began to cry.

He couldn’t stay for the birthday cookout. He was in town on business. “I wanted to surprise you,” he said. “I’ll just stay for a drink.”

He sat in the sun and drank from a tumbler of ice and bourbon. He smoked a cigarette and sweated in the shadeless yard. He wore a big ring on his finger that caught the sun and sparkled. Nik and his friends drank Cokes and they spoke in embarrassed hushes, glancing at Nik’s father. Their mother cooked the hamburgers on the grill. Denise urged Nik to open his presents.

“Not yet,” her mother said, “after the cake.”

“I have something you can open now,” her father said. He got up with a smile and went through the gate to the front, where his car was parked. They all stared at the gate until he came back, lugging a large black leather guitar-shaped case. He carried it to where Nik stood and put the case on the grass in f...

Revue de presse

“Added to the brilliant glitter of Ms. Spiotta’s earlier work...is something deeper and sadder: not just alienation, but a hard-won awareness of mortality and passing time... both a clever meditation on the feedback loop between life and art, and a moving portrait of a brother and sister, whose wild youth on the margins of the rock scene has given way to the disillusionments and vexations of middle age.”—Michiko Kakutani, The New York Times

“Is there a more electrifying novelist working than Dana Spiotta?...[Stone Arabia] makes for a sharp character study: A portrait of the artist as middle-aged never-was. Yet Spiotta’s genius is to recognize that Nik’s journey is representative not just for his sister or his mother but for every one of us.”—David Ulin, LA Times

“I read Stone Arabia avidly and with awe. The language of it, the whole Gnostic hipness of it is absolutely riveting. It comes together in the most artful, surprising, insistent, satisfying way. Dana Spiotta is a major, unnervingly intelligent writer.”—Joy Williams, author of The Quick and the Dead

“Fascinating...resonant...what’s most remarkable about Stone Arabia is the way Spiotta explores such broad, endemic social ills in the small, peculiar lives of these sad siblings. Her reflections on the precarious nature of modern life are witty until they’re really unsettling.”—Ron Charles, Washington Post

“Outstanding...Male American writers have talked about the incursion of the real into territory previously held by the novelist’s capacity for invention; but who before Spiotta has written about reality’s threat not to imagination but to memory itself?...An essential American writer.”—Jonathan Dee, Harper’s Magazine

“Transfixing...It’s as though Nabokov had written a rock novel.”—Ken Tucker, Entertainment Weekly

“Evocative, mysterious, incongruously poetic…gritty, intelligent, mordent, and deeply sad...Spiotta has created, in Stone Arabia, a work of visceral honesty and real beauty.”—Kate Christensen, The New York Times Book Review

“Dana Spiotta’s stunning, virtuoso novel Stone Arabia plays out the A and B sides of a sibling bond...”—Elissa Schappell, Vanity Fair

“A smart, subtle, moving story about the complicated business of knowing the people you love...a wild, sorrowful, rambling, deeply subjective, incandescently beautiful document.”—Matthew Sharpe, Bookforum

"Stone Arabia is a rock n’ roll novel like no other. Where desire for legacy tangles with fantasy. And identity and memory are in and out of control. A loser’s game of conceit, deceit, passion, love and the raw mystery of superstar desire."—Thurston Moore

"Stone Arabia possesses the edged beauty and charged prose of Dana Spiotta’s earlier work, but in this novel about siblings, music, teen desire and adult decay, Spiotta reaches ever deeper, tracking her characters’ sweet, dangerous American dreaming with glorious precision. Here is a wonderful novel by one of our major writers."--Sam Lipsyte, author of The Ask

“The book maps a post-punk milieu where the sense of completeness punk offered... never goes away. Spiotta can capture whole lives in the most ordinary transaction, and make it cut like X’s ‘Los Angeles’ or the Avengers’ ‘Car Crash.’—Greil Marcus, The Believer

“With a DeLillo-like ability to pinpoint the delusions of an era, the National Book Award-nominated Spiotta explores the inner workings of celebrity, family, and other modern-day mythologies.”--Vogue

“Spiotta’s book is a triumph of structure... The skill with which Spiotta builds her characters and their offbeat, nuanced relationship makes it easy to feel like the kind of panting fan Nik could only have written about.”—NPR.org

“Extraordinary…. Diamond-honed prose.... Spiotta delivers one of the most moving and original portraits of a sibling relationship in recent fiction.”—Publishers Weekly, starred review

“Stunning . . . possesses the staccato ferocity of Joan Didion and the historical resonance and razzle-dazzle language of Don DeLillo.”—Michiko Kakutani, The New York Times

Stone Arabia is propelled by Spiotta’s unflashy eloquence, dry wit and depth of feeling. She’s an exceptional novelist, as sharp on socio-political history as she is on romance and family and especially, the spaces where such things overlap.”—Minneapolis Star Tribune

“A splendid concept...brisk...a testament to Spiotta’s intelligent style.”Buffalo News

“Masterful...Spiotta’s intelligence and curiosity animate every page.”—Portland Oregonian

“Spiotta’s slim, intense novel is an insightful meditation on the damage wrought by a fame-obsessed culture, an unflinching look at family bonds that can turn to shackles and a virtuoso literary performance.”St. Petersburg Times

“[Dana Spiotta has] captured that hankering for something alluring in the past that never was – a moment of desire and pretense that the best pop music articulates for each generation.”—Houston Chronicle

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Amazon.com: 3.4 étoiles sur 5  40 commentaires
33 internautes sur 34 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Altered Reality 25 juillet 2011
Par Tyler Jones - Publié sur Amazon.com
Format:Relié|Achat vérifié
Following up her bestselling "Eat The Document," Dana Spiotta moves forward in her writing and sets her eyes on a brother / sister relationship that defies expectation.

Mining similar territory as Don Delillo's early novels - such as the influence of media in today's culture, the strangeness of human interaction, and the alterable nature of what we perceive as "reality" - it's no wonder why Delillo himself is a fan of Spiotta, and has championed her work since her debut novel "Lightning Fields."

She finds the weird and startling beauty of what we know as everyday life. Dissecting with surgical precision until the disassembled parts are entirely familiar yet wholly unrecognizable.

The two siblings in the novel have a somewhat distant and yet tender relationship. The brother, Nik, has created an alternate reality in which he is a once famous and now reclusive rock star. His sister's life is slowly unravelling around her as she begins to fear that her brother may have painful plans for his future.

The way this story is told is what makes the novel so compulsive. Several reviews have compared it to Jennifer Egan's "A Visit From The Goon Squad," and while Egan is certainly talented, Spiotta writes circles around her. Just reading some of the passages about 24 hour cable news channels rang so true it was astonishing.

This is a highly recommended book for fans of Don Delillo, Paul Auster, Samuel Beckett, and any other author that makes you fall asleep thinking about the grandness of life in all it's exquisitely painful and beautiful moments.
22 internautes sur 24 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Why we read novels/fiction... 14 août 2011
Par cbs2hands - Publié sur Amazon.com
Format:Relié|Achat vérifié
Someone calling this "an average read" was the ultimate incentive to get me to write this, though now, thinking guiltily, I should have done this earlier.

This is NOT an average read. This is why one reads fiction. Spiotta's insight into the deepest part of her character's is why one should be thankful fiction is still being written with this much truth.

This is not an easy story, or one that one should hope to have neat and satisfying resolution. This is profound storytelling that deserves slow reading, partially because the writing is so beautiful, but more because it has lessons for those who are willing to stay and listen.
24 internautes sur 30 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 An average read 26 juillet 2011
Par EJ - Publié sur Amazon.com
Format:Relié|Achat vérifié
I initially had a hard time writing a review for this book, so I took some time to think about it for a few days to determine whether I got more or less satisfied with it after some time passed. Stone Arabia is a unique tale of reality vs. illusion, but at times it seemed foiled by its own conceit.

This book is the tale of Nik Worth, a musician and bartender who has created the "Chronicles" of his alter ego-- a fantasy rock star who is far more successful in his music career than Nik himself was. He also releases albums of his alter ego's music to family and friends who still humor him by listening to increasingly experimental work. His Chronicles include such documentation as fake music reviews and interviews with the more successful parallel-universe Nik. Meanwhile, Nik's sister Denise trudges along through life taking care of everyone and everything for her family, and getting increasingly absorbed in stories she sees on the news.

The aspects of this book that I liked book include the detailed inspection of reality vs. illusion and how those boundaries can be crossed for better or for worse. Denise's obsession with the news and her over-identification with the stories she sees mirrors Nik's creation of a completely different life from the one he lives. I didn't much like Nik, but then I don't think that I was supposed to. If he were in my life I would find him utterly unbearable. He represents the worst of what can happen when we sleepwalk through life without seeing the truth around and about ourselves. Denise, on the other hand, is busy taking in all the truth to the point that she has trouble separating her real life from what she sees in the news.

The references to the Nik's detailed artistic process were interesting, but after awhile the endless hipster callouts and the description of the LA punk scene, combined with Nik's utterly self-absorbed and pathetic Chronicles, eventually got more aggravating than interesting. This was an average read, hence the three stars.
19 internautes sur 23 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Today's World Today 17 juillet 2011
Par K. L. Cotugno - Publié sur Amazon.com
Format:Relié|Achat vérifié
This could almost work as a companion piece to last year's blockbusting Visit From the Goon Squad, but only in that they are both contemporary novels using the rock scene of the 70-80's as background. But Stone Arabia has a farther reach, ironically closer to home. Denise, whose brother Nik has chronicled his life obsessively and falsely for 30 years, has a coming of age in her late 40's influenced by her family concerns but also by world events that she obsesses over and that cause her to implode. The dichotomy of these two lines converge in a truly imaginative and original way. Spiotta's last work, Eat The Document, was nominated for awards it should have won. Here's hoping this book gets recognition it deserves.
6 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Music, memory, and family 6 septembre 2011
Par "switterbug" Betsey Van Horn - Publié sur Amazon.com
Format:Relié
Nabokov stated in the first page of his 1961 memoir, Speak, Memory, "...our existence is but a brief crack of light between two eternities of darkness." In Diana Spiotta's new novel, STONE ARABIA, eccentric narcissist, obsessive archivist and iconoclastic musician Nik Kranis mines that fleeting fissure of light and warns his sister, Denise, "Self-curate or disappear."

This nostalgic and affecting story of siblings (and family) is a philosophical meditation on memory and the driven desire for autobiography--to document and render a consequential life, and to assemble disparate experiences into coherent narratives. "And even then," says Denise, "the backward glance is distorted by the lens of the present...It is not just that emotions distort memory. It is that memory distorts memory."

At the vortex of this novel is fifty-year-old Nik Kranis, aka his alter ego, Nik Worth, a pre-punk, no-hit wonder, LA musician, whose band The Fakes almost made it twenty years ago. "Nik had the sensibility down. And Nik had the look down. He was born to look pasty and skinny and angular."

But a combination of self-sabotage and solipsism undermined commercial success, and Nik alternately constructed a legendary career in music via his manufactured narrative, "The Chronicles." Stretching back from1973-2004, "The Chronicles" is a thirty-volume reinvention of a life, a daily scrapbook and fictionalized biography of Nik Worth, platinum rock star. It is a career arc so detailed and spectacular that it would rival Dylan's.

Included in The Chronicles is every band Nik was ever in, every record he ever made, and his solo career, recorded via his twenty-volume "Ontology of Worth." We also get liner notes, reviews (sometimes highly critical and damning, all created from Nik's imagination), obits of former band members, and detailed artwork for every cover. Nik is what we would call a legend in his own mind.

We depend on Denise's shifting narrative modes to trace the authentic Nik, a hermetic, aging, chain-smoking, alcoholic mooch who is blasé about his present decay and his future prospects. "He pursued a lifetime of abuse that could only come from a warped relationship with the future." But even Denise is hooked on Nik's worth as a musician.

The story is narrated largely through Denise's point-of-view, which shifts back and forth from first to third person, and is conveyed like the 80's eclectic music scene, mash-up style, that fans of Jennifer Egan's A Visit from the Goon Squad would appreciate. She's the younger sister and caretaker of the family, and Nik's biggest fan. However, Denise is concerned with exact recall, and is writing "The "Counterchronicles" as counterpoint to Nik's mythical biography, to earnestly document an accurate record of recent events.

Besides Nik, Denise's life orbits around her daughter, Ada, a documentary filmmaker who wants Nik as her next subject; a tepid relationship with boyfriend, Jay, who she sees every two weeks for sex and old movies; and a mother who is suffering from early dementia. Denise is frightened of her own memory loss, convinced that it is imminent and inevitable.

Trebly and anxious, Denise panics vicariously through sordid and tragic news events. External though they are, they penetrate her personal boundaries, leak inside and cause ongoing existential crises. SARS, Abu Ghraib, and a celebrity murder-suicide are but a few of the terrors that invade Denise's psyche. Moreover, Denise and Nik are enmeshed to a degree that "My sister doesn't count as my audience because she feels like an extension of me. She's, well, an alternative version of me."

Spiotta's creamy prose is abundant with quotable lines and arch aphorisms. It is also warm, arresting, emotionally accessible. There isn't much of a plot, but the story is powerful and vibrant, laced with mordant, electric riffs and visceral, melancholy chords.
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