So You Don’t Get Lost in the Neighborhood A Novel (Audible Audio Edition) Patrick Modiano Bronson Pinchot Inc Blackstone Audio Books
Download As PDF : So You Don’t Get Lost in the Neighborhood A Novel (Audible Audio Edition) Patrick Modiano Bronson Pinchot Inc Blackstone Audio Books
A haunting novel of suspense from the winner of the 2014 Nobel Prize in literature.
In the stillness of his Paris apartment, Jean Daragane has built a life of total solitude. Then a surprising phone call shatters the silence of an unusually hot September, and the threatening voice on the other end of the line leaves Daragane wary, but irresistibly curious. Almost at once, he finds himself entangled with a shady gambler and a beautiful, fragile young woman, who draw Daragane into the mystery of a decades-old murder. The investigation will force him to confront the memory of a trauma he had all but buried.
With So You Don't Get Lost in the Neighborhood, Patrick Modiano adds a new chapter to a body of work whose supreme psychological insight and subtle, atmospheric writing have earned him worldwide renown - including the Nobel Prize in literature. This masterly novel, now translated into 20 languages, penetrates the deepest enigmas of identity and compels us to ask whether we ever know who we truly are.
So You Don’t Get Lost in the Neighborhood A Novel (Audible Audio Edition) Patrick Modiano Bronson Pinchot Inc Blackstone Audio Books
The more i read of Patrick Modiano's books, (I am probably up to 8 or 9 now), the more convinced I am that the Nobel Prize author has a fixed set of themes and conventions that might be said to form a deck of cards that he perpetually reshuffles. And that certainly seems to be the case with "So You Don't Get Lost in the Neighborhood." Published originally in French as "Pour que tu ne te perdes pas dans le quartier," this 2014 novel is one of Modiano's most autobiographical, dwelling on a childhood period during which his self-centered parents outsourced his rearing and education.In general, I find these childhood-oriented books the least fascinating of Modiano's body of work. Still, even in this case I am delighted by the dominant themes of memory, identity, and the perception of reality, plus the effort to recall experiences that date back years or even decades. The author handles these challenges with such allusive vocabulary that his novels are often described as lyrical. I especially enjoyed references on pages 76-77 which describe the clarity of light and vision as a metaphor for memory. "...eventually it seemed to him that he saw this period of his life through a frosted window. It allowed a vague clarity to filter through....it was time that had subdued its more intense colours and edges." Secondary themes include already familiar roles for the city of Paris; an obsession with street names; and the importance of a notebook as a clue to identity and puzzle-solving.
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So You Don’t Get Lost in the Neighborhood A Novel (Audible Audio Edition) Patrick Modiano Bronson Pinchot Inc Blackstone Audio Books Reviews
This is a not the book I expected. it is very intellectualized speculation on events that are never clear but shifting. Some would love this but to me it was a disappointment. I would not recommend this except to people who like Proust and Falkner and elusive people and characters.
Nobel or not Nobel, French or not French, I simply do not enjoy his writing, try as I may.
Modiano's narratives are uniquely convoluted with a shifting timeline that dances back and forth over as many as 50 years. In this case, the central character becomes involved with mysterious people who seem to come out of his past experience and force him to relive his own history against his tendency to retire into his isolation. As one reads, he finds himself thumbing back to refresh memory about a particular person or event in much the same way as the protagonist is doing. Like other Modiano works, "So You Don't Get Lost" is more about how fiction works in relation to autobiography than about any particular subject or action. "Painterly" is the term that comes to mind, and one is reminded of some of Samuel Becket's work, as well as Robbe Grillet and other avantguarde writers of the late 20th century. This is literature as art form, not storytelling, or at least not storytelling of the sort we are accustomed to in more pedestrian fiction. I call it "counter realism," definitely worthy of his Nobel Prize.
This is the second of Patrick Modiano's novels that I have read. I did not enjoy it. Missing Persons was much better. The novel read like it was written in one evening with snipets of past events very very disconnected. The novel had no real ending and when I finished reading it, I wondered why I started. Relating current events with the past is often very effective as it is in Robert Goddard's novels, but here the novel is so short that although past events are described, there is no real attempt to connect these events with what is current. The reader is left unsatisfied wishing that the novel was much longer and that there was a better tie-in of the past with the present.
Modiano has always been interested in the vagaries of memory, including his own, and his novels often draw on his own dysfunctional childhood, with all its confusions and nightmares as he revisits and perhaps rewrites his own past. Though Modiano has emphasized in interviews that his novels are novels and not autobiographical records, they do, usually, recreate in some form or another, the stories which lie deep within his own memory, as confirmed by his autobiography, Pedigree. His novels often share story lines and characters (though sometimes bearing different names), as the traumas of Modiano’s own past get revisited anew with a new set of characters and a new approach to events.
Resembling a simple, straightforward mystery story set in France as it opens, this newest novel by Nobel Prize winner Patrick Modiano gradually becomes increasingly eerie, psychological, and autobiographical, though it never loses the basic structure of a mystery novel. As the novel opens, Jean Daragane, a reclusive author, who has not seen anybody in three months, has just received a telephone call offering to return his lost address book if he will meet with the finder. Gilles Ottolini, an advertising man and former journalist who is researching a murder from forty years ago, has found and looked through Daragane’s address book and has been excited to see a listing there for Guy Torstel, someone whose name, Daragane claims, means nothing at all to him. The next day, the two agree to meet.
Soon this “typical mystery” begins to show overlaps with Modiano’s own life and the people and places he knew, some of which have featured in other novels. His main character, Jean Daragane, is the same age as Modiano, and his early memories resemble those of Modiano, as confirmed in his memoirs. Modiano’s mother, an actress, left him for years at a time with people of the demimonde – acrobats, women of the night, and gamblers – and it was a woman, barely out of her teens, named Annie who was Modiano’s primary guardian for two years – a woman who ended up going to prison for illegal activities. The reader learns early that the murder victim in this novel, Colette Laurent, was a friend of Daragane’s, and that two of Colette’s male friends were also friends of his mother.
As So You Don’t Get Lost in the Neighborhood continues to develop, it evolves into a novel about memories both real and imagined, and readers familiar with Suspended Sentences and Modiano’s memoirs will see innumerable overlaps with Modiano’s real life. Though this novel stands on its own, its ending comes abruptly, and for those who have never read Modiano, it may seem more mysterious than it deserves to be. The novel follows its own narrative line and offers up its own insights into people and places, all well described, as Modiano engages in flashbacks to relive and reconsider his past. Ultimately the reader returns to the quotation from Stendhal, with which Modiano his work “I cannot provide the reality of events,/ I can only provide their shadow.”
I thought it was just me, then I read some of the other reviews. It goes nowhere. I kept going back to see if somehow I had missed the rest of it. Needless to say, I had not. It ends abruptly leaving one to think WHAT!
The more i read of Patrick Modiano's books, (I am probably up to 8 or 9 now), the more convinced I am that the Nobel Prize author has a fixed set of themes and conventions that might be said to form a deck of cards that he perpetually reshuffles. And that certainly seems to be the case with "So You Don't Get Lost in the Neighborhood." Published originally in French as "Pour que tu ne te perdes pas dans le quartier," this 2014 novel is one of Modiano's most autobiographical, dwelling on a childhood period during which his self-centered parents outsourced his rearing and education.
In general, I find these childhood-oriented books the least fascinating of Modiano's body of work. Still, even in this case I am delighted by the dominant themes of memory, identity, and the perception of reality, plus the effort to recall experiences that date back years or even decades. The author handles these challenges with such allusive vocabulary that his novels are often described as lyrical. I especially enjoyed references on pages 76-77 which describe the clarity of light and vision as a metaphor for memory. "...eventually it seemed to him that he saw this period of his life through a frosted window. It allowed a vague clarity to filter through....it was time that had subdued its more intense colours and edges." Secondary themes include already familiar roles for the city of Paris; an obsession with street names; and the importance of a notebook as a clue to identity and puzzle-solving.
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