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Beautiful & Damned Broché – 1968

4.0 étoiles sur 5 2 commentaires client

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Format: Broché
Un titre pas très folichon, il faut le dire!A quoi s'attendre quand on nous promet de nous parler de "beautiful" et de "damned" people? Et bien à un vrai bon livre comme on en fait rarement aujourd'hui! Du coup on regrette qu'il n'existe plus un Fitzgrald pour nous raconter ce qu'est la vie.En plus, bizarrement, ce qu'y était bon pour décrire la société américaine des années 20 serait toujours aussi bon pour la société actuelle. Hasard, génie littéraire de Fitzgerald qui a su mettre le mot juste ou bien simplement les hommes ne changent-ils pas? Heureusement, le livre échappe à quelque commentaire que ce soit et n'est que pure description: de quoi laisser le lecteur libre de toute appréciation personelle...c'est encore mieux!
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Format: Broché Achat vérifié
On retrouve dans ce livre de jeunesse les préoccupations de l'auteur mais ce livre n'est pas abouti. Il faut attendre "The great Gatsby". C'est un peu futile.
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Amazon.com: 3.9 étoiles sur 5 306 commentaires
7 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Extraordinary Writing, What Fitzgerald is Known For 25 janvier 2016
Par Claudia J. Taller - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
This novel took a while to warm up to but the more I read, the more I became involved in it. Fitzgerald's language is beautiful, so I continued reading just for the extraordinary writing. The book, like The Great Gatsby and Tender is the Night, is populated by people who are wealthy and lost, the famous "Lost Generation." Interestingly, I'm now reading The Age of Innocence by Edith Wharton, which was published in 1920, two years before The Beautiful and the Damned, and we're in the same New York City Fitzgerald created but with a different focus. I recommend the book especially to writers because even though there's a tendency and preference to write shorter sentences today, Fitzgerald's fluid writing makes a case for more complex constructions and the use of metaphor and polished narrative description.
4.0 étoiles sur 5 As beautiful as can be... 21 mai 2017
Par RaymondGW - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
There's a reason F. Scott is one of the GOATs. What he can do in describing a dinner scene is greater than what most authors can do in their entire novels. The words here are beautiful, decadent, oozing style and grace and charm and sensuality in spades. While the pacing is often slow, when you realize that it was done deliberately you begin to enjoy the words upon words F. Scott uses to delve into the minutiae of these people's lives. Anthony and Gloria aren't exactly likable characters, and they weren't meant to be, but in watching their lives fall apart and their dreams become ever more deferred they do manage to extract a tiny bit of sympathy from the reader. If you have some time on your hands and enjoy a little bit of schaudenfreude, it's more than worth a read.
39 internautes sur 40 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A must-read--before it's made into a movie 22 décembre 2009
Par T. M. Teale - Publié sur Amazon.com
Format: Broché Achat vérifié
Nearly ninety years after its first publication, _The Beautiful and Damned_ is still a shockingly relevant account of the entitlement class, the children of the rich or privileged who don't know how to navigate through life without big money. And, it's a New York City novel--written as only a mid-westerner can. It seems to me that because New Yorkers are too much in the middle of it to see themselves clearly, an intelligent "outsider" like F. Scott Fitzgerald must come along. To write as well as he did, Fitzgerald let the city inhabit him. New York got into his blood, and he recorded it in narrative right down to the dirt under the carpet. Fitzgerald's details lead the reader into the depths of the beautiful and doomed couple, the Gloria-Anthony entanglement, as they are part and parcel of the extremes of poverty and wealth (in the World War I era or the roaring 20s).

I don't know how Fitzgerald knew what he knew about the human psyche, or specifically about how a young man might react when he is good-looking and swimming in money and New York, but Fitz's life at Princeton University among this set of people gave him the environment in which to observe; Fitzgerald supplied the story around which the narrative coheres. Of course, there are autobiographical elements to this novel--a lot of himself and Zelda--but what the literary art requires is critical distance. To put his main characters through some shameful scenes, Fitzgerald had to know what tough love is in the New York City context. He had to put his couple to the test, people who from birth had relied on the "religion" of charm and money. And the author had more than just critical distance: F. Scott had them down right! Every expression, every word. Gloria: "This is life! Who cares for the morrow." And you can see Anthony deciding to have one more drink, his speech becoming slurred, his manners maudlin. While Anthony and Gloria wait for his inheritance, we find out what they're made of.

Most pleasurable about Fitzgerald's craft is his carefully-controlled technique of letting Anthony and Gloria visit hell (the "damned" in the title) while softening the harsh surgery-like light with well-timed, well-handled, lyrical sentences. In a single beautiful line, the passage of the winter sun describes both Fitzgerald's craft and his beautiful couple's descent: Gloria "lay still for a moment in the great bed watching the February sun suffer one last attenuated refinement in its passage through the leaded panes into the room" (p.173). Fitzgerald knew how to show the attenuated and refined way downhill.

One more thing about the craft of writing: Only the omniscient narrator technique--which Fitzgerald employs--can show characters in shameful acts and show what they're thinking, and the circumstances in which they got there, and how they "need" money in order to "survive." I wonder if now, in nearly 2010, this novel is not more important than in 1922. More than ever, _The Beautiful and Damned_ is a national portrait. (I can see how "spending" money could be the "sex" in the novel.)

Advice: Read this novel while in New York, if possible. The first time I read _The Beautiful and Damned_, I was living near 123rd (me, a Westerner!). I looked up every address in the novel (except for the gray house near Cos Cob, Conn.) and got to know New York through this novel. In fact, I could almost pick out their final apartment in Harlem near 127th.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Broken People 11 janvier 2017
Par Susan Marie Molloy - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I enjoyed reading this novel for Fitzgerald's brilliant portrayal of broken and twisted characters who give into the Seven Deadly Sins, and their rewards. Fitzgerald's writing style in this book makes it apparent that he's still developing and honing his skill, yet it doesn't distract from the story. I really like "The Beautiful and Damned."
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Needs massive editing, but worth reading for the language 19 novembre 2013
Par A Reader - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I first read The Beautiful and Damned when I was about fourteen, right after I had read my first Fitzgerald book, The Great Gatsby. And I was, of course, greatly disappointed; this is no Gatsby. I found the novel verbose and dull, and I couldn't relate at all to the two main characters, Anthony and Gloria Patch, a spineless rich boy married to a lazy, domineering, spoiled brat. They must surely be two of the least sympathetic characters in literary history.

Reading this novel again, almost forty years later, I found much more to appreciate about it than I did at first reading, but I finished it with a heavy heart, fervently wishing that a talented editor had taken an entire box of blue pencils to the manuscript.

One of the great literary achievements of "Gatsby" is its amazing economy of style; Fitzgerald stuffs an enormous amount of information into a very short book, without once leaving us feeling that something's been left out. (This is probably because Gatsby, alone among Fitzgerald's novels, began its literary life as a novella--a long short story--rather than as a novel. Fitzgerald literally pulled the original novella manuscript out of galley typesetting and expanded it into a novel.)

"Economy of style" is a description you certainly can't apply to The Beautiful and the Damned; it meanders all over the place, and it employs a hokey and odd literary device by turning some of the dialogue into actual dramatic scenes from a play, rather than prose. This device might have worked if Fitzgerald had used it throughout the book, but he doesn't; he drops the dramatic scenes after the early chapters of the book, and never re-uses them again. That just makes those scenes stand out even more awkwardly amid the regular prose.

The book also suffers very badly from the lack of sympathetic main characters. Of course, the whole point of the plot is that these people are awful, but we need **some** reason to keep reading their story. Again, if an editor had taken out his box of blue pencils, he might have noted on the manuscript that Anthony and (and especially) Gloria needed some kind of sympathetic counter-balance to their general, dual awfulness. Otherwise, why continue reading? There is a slight--very slight--sympathetic air attached to Anthony, whose main redeeming quality is his self-loathing; he knows he is awful and is ashamed of it, but is not strong enough to do anything about it. Gloria, on the other hand, has no clue that she is a greedy, incredibly selfish monster; she thinks her looks are the only thing she needs to offer up to the world in order to obtain all the "goodies" to which she feels entitled.

Despite these major flaws, the book is still worth reading for Fitzgerald's matchless prose, some of the prescient philosophizing (he rightly predicts the death of poetry as a literary art form, and for the correct reason, too) and the richly drawn tertiary characters, such as Tana, the Japanese houseboy, and Dot, the tragic Southern camp follower who falls hopelessly in love with Anthony. There is also something to be gained at pondering the lives and personalities of the Patches and realizing that most of us, no matter how flawed we think we are, are much better people than they are.
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