ellauri008.html on line 488: Wiiksiwallu eläinmurhaaja Hemingway tietysti, tyhmä sonni Henry Miller, kaakelileukainen Knut Hamsun, valassarjamurhaaja Melville enimmäkseen (paitti se "mieluummin en" novelli). Conrad merenkävijä myös eri selvästi, en meinaa jaksaa lukea. Henry James on yllättävän ällö myös, vaikkei mikään sonni. Ite asiassa Dostojevskikin soveltuvin osin kuuluu tähän. Ja Paulo Coelho, mirabile dictu. Naismaista miesmäisyyttä on näet myös näiden harrastama nokintajärjestyksen vahtaus ja sitä palveleva pyhyyshymistely, vaikka itse ovat piipunrasseja. Mieskirjailijoita on selvästi jenkkijutkut Bellow, Malamud, Roth etenkin, Paul Auster. Amos Oz ei kuulu joukkoon, mut se ei ookkaan jenkki. Eikä Singer. Naismainen Åke-Håkan Knausgård on selvä mieskirjailija, sukuaan haukkumalla koittaa päästä julkuksi, alistamalla ylistää itseään ja lyttää naisiaan. (Mussakin voi olla sitä vikaa. Mut en sentään ole julkkis.) Bylsii lapsia, fanittaa Hamsunia, Hördeliniä ja Hitleriä, kaikki hulluja mieskirjailijakolleegoja. Hyi. Sen eka kirja enkeleistä oli aika hyvä.
ellauri022.html on line 608: Malamudin alter ego Dubin oli elämäkerturi. Romaanikirjailijat on kuvitteellisten elämien kertureita. Mustakin on tullut näissä paasauxissa aikamoinen kerturi. Wannabe ja bona fide pönäköiden suurmiesten parturi. Jossain Aku Ankassa joltain roistolta ajettiin parta ja se näytti enää hassulta. Simson ilman pitkää lettiä ja leukaluuta. Pelkkä aasi. Naku keisari. Jos oisin psyko analyytikko kuten Eke, sanoisin että olen vaan kade. Kun en oo ize suurmies koitan osoittaa, että ne muutkin on oikeastaan aika pieniä.
ellauri052.html on line 33: Malamud Bellow ja Roth oli am. kirjallisuuden Hart Schaffner ja Marx, chicagolainen univormutehdas ja miestenvaatehtimo joka kuoli 2009. Halvat ja mauttomat Marxin veljexet. Bellow suhtautui suopeasti 2v vanhempaan Malamudiin, ison Paulin ikätveriin. Se oli vielä maalaisempi, kotosin Oregonista. Samanlaisia kujakatteja kaikki 3, nahattomia ja karvattomia kullikissoja. PST Bellowin maneeri on laittaa rinnastuxia ilman välimerkkejä niinkuin tän kappaleen alussa. Isaac Bashevis Singer ei kuulunut tähän poppooseen, se oli 1. sukupolven maahanmuuttaja.
ellauri077.html on line 604: Tis-mal-leen! Tässä Wallu oli aivan oikeassa. Mutta paskaa oli jauhettu jenkeissä jo ennen postmodernisteja. Yhtä eltaantuneita oli ne kolme jutkua (Belov, Malamud ja Roth). Yhtä paskiaisia oli tavallaan myös Wilt Whatman ja se Saroyan, armenialaismamu joka elvisteli puhtaaxi puleeratulla americanalla. Tai se village smithy jäbä, Hessu Långben. Ei hemmetti, ei jenkkilästä tule mitään hyvää vaikka voissa paistaisi. Ne on joko gooey tai ne on irvistelijötä. Ei ne saa naamaa peruslukemille millään.
ellauri107.html on line 429: Groucho Malamud, Chico Bellow ja Harpo Roth olivat kuin Sam Gamgee, Frodo ja Bilbo Baggins, karvavarpaisia babitteja, alamittaisia homunculuxia. Keskiluokan hirviöitä. "Missä kirjoituskone on?" Hupaisaa että Tolkien-leffoissa poroporvarillisista hobiteista on tullut kansalaiskuntoisia rotariveljiä.
ellauri109.html on line 539: Roth mined his life for his characters from the beginning. He also found himself liberated, as the fifties wore on, by the example of two older Jewish-American writers. Saul Bellow’s “The Adventures of Augie March” helped “close the gap between Thomas Mann and Damon Runyon,” Roth recalled. Bernard Malamud’s “The Assistant” showed him that “you can write about the Jewish poor, you can write about the Jewish inarticulate, you can describe things near at hand.”
ellauri109.html on line 557: His habits were those of a monk: spartan diet and furnishings, regular exercise, crew-neck sweaters, sensible shoes, and strict hours. If he was not in his studio by nine, he would think, “Malamud has already been at it for two hours.”
ellauri181.html on line 53: Phil Rothin mielestä Kafkan apinajuttu Raportti akatemialle on aivan verraton. Onkohan se oikeasti kovin kummonen. No ehkä se sopii johdannoxi Malamudin laajempaan juutalaiseen apina-allegoriaan, johon piakkoin toivottavasti pääsen, kuhan saan Rothin vaiennetuxi. Juu se on nyt albumissa 183.
ellauri182.html on line 153: 1996 tää heppu melkein kuoli uimareissulla ja kirjoitti siitä lähin vain kylmiä paloja alakulttuureista kuten manga, kirjallisuus, politiikka, yhteiskunta ja uskonto. (Hindut, bambut, banaanit ja uusi testamentti. Mitähän se viirusilmä siitäkin ymmärsi, varmaan vähemmän kuin Malamudin simpanssi.) Yashimoto oli sodanjälkeisen Japanin ajattelun pikku jättiläinen joka veljeili entisen vihulaisen kaa. Näytti Tokiota tyypeille kuten Michel Foucault, Félix Guattari, Ivan Illich, and Jean Baudrillard.
ellauri183.html on line 34: 
Malamud.jpg" width="100%" />
ellauri183.html on line 38: Tää Jumalan armo on Bernardin viimeinen rompsku, kirjoitettu 68-vuotiaana, eli mua nyt vuotta nuorempana. Tää on hullunhauskaa pilantekoa juutalaisuudesta ja vähän katolisuudestakin, eli Bernardin ja sen vaimon uskontotaustoista apinansilmin nähtynä. Parasta Malamudissa tässä niteessä on että se antaa vitut ylevälle, ja kirjoittaa asioista sellaisina kuin ne on. Vizikkäintä on lukea miten jenkki- ja brittikriitikot kiemurtavat saadaxeen tästä läpästä irti jotain ylevää.
ellauri183.html on line 48: Malamud Bernard">Bernard Malamudin (1914-1986, 71v) porukat tuli ryssistä kuin myös muiden kahden Marxin veljexen. Bernard (1914) olis Groucho, Sale (1915) Chico ja Pili (1933) Harpo. Alakertalaisten ikäisiä paizi Pili oli 5v nuorempi kuin Eero.
ellauri183.html on line 50: Malamuutti piti leffoista ja kertoi kavereille niiden juonia. He was especially fond of Charlie Chaplin's comedies. Silläkin oli hullu veli Sakari. Malamud's mother, Bertha, and his brother, Eugene, were both mentally ill. Bertha died when Bernard was 15, possibly a suicide. Sakari eli kovan ja yxinäisen elämän ja kuoli viisikymppisenä.
ellauri183.html on line 52: Bernien gradu koski Thomas Hardya. Sodan päätyttyä Malamuutti nai it.room.kat. goyn (Ann de Chiara) Oregonista vasten molempien vanhempien tahtoa. Bernhardilaiskoira alkoi kirjoittaa 60-luvulla Oregonin maamieskoulussa. Living out West in Oregon for ten years (1949-61) gave Malamud a sense of home, however temporary. "It was where my wife had a feeling of rooz: our daughter was born there." Tytär Janna Smith on mun ikäinen ja antaa psykoterapiaa halukkaille. Kirjoitti Berniestä kirjan My father was a book. Malamud was Jewish, an agnostic, and a humanist.
ellauri183.html on line 71: Philip Roth: "A man of stern morality, Malamud was driven by the need to consider long and seriously every last demand of an overtaxed, overtaxing conscience torturously exacerbated by the pathos of human need unabated." Philip yritti tossa mahduttaa ehkä vähän liikaakin yhteen virkkeeseen.
ellauri183.html on line 72: Saul Bellow: "Let me add on my own behalf that the accent of hard-won and individual emotional truth is always heard in Malamud's words. He is a rich original of the first rank."
ellauri183.html on line 76: Loppuikänsä Bernad opetti luovaa kirjoittamista Vermontissa Benningtonin naisten collegessa. Ann joka oli sentään käynyt Cornellin typed his manuscripz and reviewed his writing. Oliko Berniellä sillä aikaa jimbajambaa coedien hameissa? New York Times tietäisi muttei kerro ilmaisexi. In the book The Natural by Bernard Malamud the main character Roy Hobbs had a very distinct flaw, a flaw that millions of American men and women both have..... an obsession with sex which affected his character and which made him a very unsuccessful man.
ellauri183.html on line 78: His deep belief that one should live morally crashed into his premise that one should live fully. Yep, I bet he did shag his coeds. Janna Malamud Smith is the author of An Absorbing Errand: How Artisz and Crafzmen Make Their Way to Mastery; A Potent Spell: Mother Love and the Power of Fear; and Private Matters: In Defense of the Personal Life. Her titles have been New York Times Notable Boox and A Potent Spell was a Barnes and Noble "Discover Great New Writers" pick. She has written for the New York Times, the Boston Globe, and the Threepenny Review, among other publications. A practicing psychotherapist, she lives with her husband and two children in Massachusetz.
ellauri183.html on line 82: Malamud laughs at the labels which contemporary critics have pinned on him. "Tragico-comico, realistico-fabulistico; the more the merrier!" More human excellence! More generosity! More coed pussy! Want to keep up with breaking news? Subscribe to our email newsletter.
ellauri183.html on line 84: The Roth-Malamud feud 1974
ellauri183.html on line 86: In a 1974 New York Review of Boox essay, Roth took on Malamud, his friend and literary father-figure, criticizing him for creating characters that were suffering Jews, virtuous victims, full of “righteousness and restraint,” lacking their stereotypical “libidinous or aggressive activities.” Though he didn’t use the phrase, Malamud had painted them as Christ-like in their poverty, pain, moral goodness, and quest for redemption. By contrast, the Christian characters, like Frank Alpine, were full of sexual lust and transgressive behavior — the bad goy to Morris Bober’s good Jew. “The Assistant,” Roth wrote, was a book of “stern morality.”
ellauri183.html on line 88: Roth contrasted Malamud’s protagonisz to the exuberant Jewish characters created by Saul Bellow, especially the picaresque Augie March, and his own hypersexual Alexander Portnoy. In effect, Roth said, Malamud had created Jews who were stereotypes, not fully realized human beings like him and Sal.
ellauri183.html on line 90: Malamud was stunned. He drafted two letters to Roth, refuting his argumenz, but never sent them, according to a Malamud biography by Philip Davis. Instead, Malamud mailed only a few words to Roth: “It’s your problem.”
ellauri183.html on line 91: Roth wrote back, audaciously insisting that he had pointed out “fictional skeletons” that perhaps Malamud himself didn’t see. Like a sanctimonious little shit.
ellauri183.html on line 93: Little wonder that Malamud refused to talk to Roth for several years. They were reconciled in May 1978, when Malamud and his wife, Ann, accepted a dinner invitation in London from Roth and Claire Bloom, who were then living together. The two men kissed on the lips like Brezhnev and Honecker and resumed their friendship, according to a memoir by Malamud’s daughter, Janna Malamud Smith.
ellauri183.html on line 94: However, in a letter to his daughter a week after that dinner of reconciliation, Malamud voiced his true feelings: Roth, he said, had written a “foolish egoistic essay about my work” and had “certainly misinterpreted” “The Assistant.” The letter was not made public until 2006, some 20 years after Malamud’s death.
ellauri183.html on line 101: The apocalyptic gloom of his subject seems hopelessly out of place in this cheery, sun-washed house, a rambling white-frame idyll near Bennington College, where Malamud has taught for 20 years. A comforting percussion of cooking sounds comes from the big kitchen where his wife Ann, a chipper dynamo of a woman, is devising lunch; on the porch an old tiger tomcat lolls ingratiatingly; and in the distance the cloud-dappled foothills of the Green Mountains hover like a Yankee daydream.
ellauri183.html on line 103: And Malamud himself -- still frail from a recent illness -- at first appears an improbable Isaiah. With his tidy demeanor, incessant self-editing ("no, wait, there's a better word . . . ") and deadpan, scrupulous style, he could be the most successful publican in Galilee. He is uneasy with talking about himself ("that kind of stuff, it's not up his alley," says his publicity-hungry "friend" Philip Roth) and seems reluctant to start. He pauses to choose among several pairs of glasses, then sits down carefully, feet flat on the floor, long fingers knitted in his lap. Finally, with the anxious geniality of a brave man settling in for root canals, he says, "Now then, I think we can begin."
ellauri183.html on line 104: With God's Grace, Malamud risked a lash from the powers above. Already John Leonard in The New York Times has said it "groans under the weight of its many meanings . . . I find myself tired of masks on clowns." Nor are the unflattering treatment of Christianity and emphasis on evolution likely to delight Moral Majoritarians.
ellauri183.html on line 108: Malamud's work is infused with a baleful but robust humor, and the son says his father "has a Swiftian streak in him" which leads to the "kind of acerbic, satirical quality" apparent in "God's Grace."
ellauri183.html on line 109: In Malamud's cosmology, free will and an omnipotent deity coexist because God ("who invented man to perfect himself") has an overall plan "to make man meet his obligations, but in a way he can't tell him about in advance -- to make him use himself best."
ellauri183.html on line 111: Many critics dismiss Malamud as a "Jewish writer." But "that's a reduction of my accomplishment. It diminishes something. All men are Jews, he once said, and Jews are absolutely the very stuff of drama. I say nothing about the ladies."
ellauri183.html on line 113: Pitäisiköhän vielä lukea toi Assistant josta Malamud ja Roth kävi nokkapokkaa.
ellauri183.html on line 117: Eila Pennanen suomensi Malamud Bernard">Bernard Malamudin niteen Armo ja kirjoitti siihen tyhmän lukijan johdannon. Oliko Eila ize uskovainen? Ei luultavasti järin, ainakaan sikäli kuin Tellervo Koiviston 60. pakina, Suomen Kuvalehti numero 7/1970 antaa ymmärtää:
ellauri183.html on line 262: Despite Malamud's shadings with rabbinical law, then, this is a familiar hopeless-Utopia blueprint. Moreover, the restless treatment here—part downbeat-comic, part liturgical-lyric—never endows the tale with the sort of Biblical fervor which heightens the best of Doris Lessing´s fables. And the result is a disappointing, predictable parable—intentionally funny at times but unintentionally funny too, hollow in most of its lyrical moments, and only occasionally provocative in its eclectic philosophizing.
ellauri183.html on line 276: In the end, Cohn is subsequently taken to be sacrificed by BUZ. Now my question is this: Did Malamud try to recreate the scenes of Christ's sacrifice or was he referring to Abraham's ascent to Moriah to sacrifice Isaac (or Ishmael) only in this case, it was the son preparing the Father for sacrifice?
ellauri183.html on line 304: Roth pystyy hikisesti törkeilyyn perustuvaan verbaaliseen komiikkaan. Malamudilla on sama taito kuin oli Knupolla kertoa eleettömästi pitkä tarina jonka huumori alkaa vähitellen kasautua erilaisista epäsuhdista niin että ei pian pysty pysymään vakavana.
ellauri183.html on line 335: En koskaan pitänyt Roomeosta ja Juuliasta. Koko juoni on hanurista. Täysin epäuskottava. Malamudkin pitää sitä hieman pilkkanaan. Simpanssineito lämpenee Colinille tämän luettua sille Roomeota ja Juuliaa, luku 3.
ellauri188.html on line 405: Perhanan kannibaalit! Tulee mieleen Malamudin Cohn Island. Naapureiden popsiminen oli kummankin saaren asukkaiden parhaita oivalluxia. Siitä kannattaisi nykyajan apinoiden ottaa oppia. Kuvaus alkuasukkaineen riitaisista oloista vuorten rajaamissa pikku kanttooneissa muistuttaa toisaalta Schweizin maisemaa, toisaalta Jared Diamondin kuvauxia melkein 200v myöhemmin läheiseltä Papuan saarelta. Tää on termiittiapinan tasapainotila, tästä sen ei olis koskaan pitänyt lähteä paisumaan kuin pullataikina.
ellauri236.html on line 475: Fenner got to his feet. He was surprised Blandish wasn’t a bigger man. Only slightly above middle height, the millionaire seemed puny beside Fenner’s muscular bulk. His eyes gave his face its arresting power and character. Fenner has arresting power on his bulk, and Paula has a caracteristic butt. They were hard, shrewd and alert eyes of a man who has fought his way to the top with no mercy asked nor given. Now this is proper monkey business! Jeff Bezos or Elon Musk in the flesh! Täähän on yhtä mahtavaa kuin Malamudin apinoiden saarella!
ellauri244.html on line 418: Millenniaaleja Jeesus-covereita on tosi monia, esim. Bernard Malamudin (jumalan armo, 1982), Jose Saramagon (Jeesuxen Kristuxen evankeliumi, 1991) Naahum Mailerin (pojan evankeliumi, 1997), ja Harri Sirolan pahnanpohjimmainen (Jeesus Enkelinpoika Nasaretilainen, 2001). Missään niistä ei Jeesus sikise pyhästä hengestä, vaan asialla on ollut joku kikkelillä varustettu välimies. Eikä missään pidä Jeppe poika kaatioita jalassa, vaan kaikilla se päätyy nussimaan Maria Magdaleenaa tai jotain toista hoitoa. Tää on selvästi jäänyt kynäilijöitä vaivaamaan, niinkuin varmaan gospelien kuulijakunnan enemmistöä. Missä on E ja K, siellä pitää olla F. Kreikkalaisten jumalat oli himo bylsijöitä, siinä suhteessa on tuppikullien partapozo vastine aikamoinen pettymys. Naiset vaietkoot telttamiesten seurakunnassa, ja niiden naimisesta oli viisainta myös setämiesten enimmäxeen vaieta.
ellauri302.html on line 718: Lisäxi on Singer yhtä silmitön antikommunisti kuin se on semitisti. Aivan pidäkkeetöntä ryssävihaa vaahtoaa sen suupielistä kuin vesikauhuiselta koiralta. Tämmönen kohtuutun vihanpito on juutalaisilla ihan verissä, kulttuurissa ainaskin. Samahan se oli Kivipukin Tanelillakin. Julmat kulmahampaat irvessä ja karvakädet nyrkissä. Ei rottamainen Ben Zyskovizkaan jää paljon hännille. Vanhoista jenkkijutku kirjailijaukoista tulee yllättävän samanlaisia Kroisos Pennosia ja Kulta-Into Piitä: Singer, Belov, Roth, jopa Malamud. Norman Mailerin Alastomat ja kuolleet odottaa vielä vuoroaan.
ellauri392.html on line 716: Saul Bellow, born Solomon Bellows (June 10th, 1915-April 5th, 2005) Bernard Malamud (April 26th, 1914-March 18th, 1986) Norman Kingsley Mailer (January 31st, 1923-November 10th, 2007) Philip Milton Roth (born March 19th, 1933, Newark, New Jersey).
ellauri392.html on line 722: Bernard Malamud, Saul Bellow, Sholem Aleichem, Isaac Leib Peretz, Isaac Bashevis Singer;
ellauri392.html on line 724: Solitude and alienation: Philip Roth, Bernard Malamud, Saul Bellow;
ellauri392.html on line 725: Infiltration in other societies:Philip Roth, Bernard Malamud, Isaac Bashevis Singer, Ephraim Kishon;
ellauri392.html on line 726: Atrocity and Jewish suffering: Isaac Bashevis Singer, Bernard Malamud;
ellauri392.html on line 737: The responsible culture accused the adversary culture of operating with a hermetic tradition of Modernism or (khas vishalom) Post-Modernism. They write about society where snobbism and material things are prevailing models, but the spiritual and religious aspects are met only sporadically. That society has come under the harsh criticism by Philip Roth, Bernard Malamud and Saul Bellow, none of whom are in the least manner snobs.
xxx/ellauri044.html on line 170: Narsistin voi tunnistaa jo kaukaa, siihen ei tarvi koulutusta, ja sitten voi lukea tunnettujen elämäkertureiden teoxia. Tosin niistäkin on moni narsisti, kuten se Malamudin Dubin. Narsistit on säälimättömiä mutta säälittäviä, muista se.
xxx/ellauri125.html on line 453: on the writer Bernard Malamud, but Henry Roth is a major influence, as becomes clear in Exit Ghost. It is known that Philip Roth has read the later novels of
xxx/ellauri125.html on line 485: With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted. After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted.[ After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. After Muriel's death in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream. It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are based on Roth's life. Roth's own sister denied that such events occurred. Roth attributed his massive writer's block to personal problems such as depression, and to political conflicts, including his disillusion with Communism. At other times he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes. Roth died in Albuquerque, New Mexico, United States in 1995. The character E. I. Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements.
xxx/ellauri178.html on line 43: Myöhempien aikojen lukijat, jotka pääsevät perehtymään Philip Rothinkin kaltaisen, yksityisyyttään tiukasti varjelevan kirjailijan salaisuuksiin, voivat kivuttomasti varmistaa, oliko taiteilijalla kenties painaviakin syitä niljakkaan omaelämakerrallisen aineiston kirjaan pierauttamiseen. (Paizi siis raha, exhibitionismi ja kostonhimo.) Noita samoja lukijoita on melkein pakko kadehtia niistä ulkokirjallisista tiedoista joita uutterat elämäkerturit luultavasti saavat kaivettua esiin. Kuinka jännittävää olisikaan jo nyt tutustua siihen mitä Philip Rothin (tai Saul Bellowin tai Norman Mailerin tai Bernard Malamudin) kaltaisten nuppikullien teosten runttaamien naisten mahdolliset esikuvat ajattelevat romaanien haaraväliin juuttuneista rakkaussuhteista. Semmoiset năkökulmat ehkä korjaisivat mieskirjailijoiden karkeimpia -epaoikeudenmukaisuuksia: ainakin romaanien hirviomäisimmät naiset saisivat koston mahdollisuuksia. Hahaa, nyt ollaan siinä pisleessä ja hyvin tiedetään, että ne kirjat on täyttä valetta, toxista misogyynistä panettelua paneskelun lomassa.
xxx/ellauri186.html on line 392: Seuraavat juutalaiset kirjailijat mainitaan tiheimmin kun keskustellaan kafkalaisuudesta amerikkalaisessa romaanissa ja novellissa: Nathanael West, Isaac Rosenfeld, Delmore Schwartz, Paul Doodman, Saul Bellow, Norman Mailer, J. D. Salinger, Bernard Malamud, Philip Roth, Joseph Heller, Meyer Liben ja Susan Sontag. Sietää muistaa tutkijoiden varaus. Kafkan vaikutus on useimmiten ollut epäsuora ja kietoutunut Freudin ohella muidenkin idealähteiden kanssa: Dostojevski, Kierkegaard, Buber, Reich, Trotski, Sartre... Harvoin se näkyy niin voimallisen tarttuvana kuin Isaac Rosenfeldin (1918-1956) lyhyissä paraabeleissa.
xxx/ellauri187.html on line 258: Parempina päivinä José olis kyllä tarttunut inkvisiittiön rattaisiin kuten ne 1500-luvun lapsenmurhasta syytetyt juutalaiset jotka aloittivat sefardien vainon ja karkotuxen Epsanjasta. Juutalaisia ja mustalaisia epäillään säännöttömin väliajoin lapsenryöstöstä ja kannibalismista, joteskin ne taitaa olla apinoiden mielestä rikoxista pahimmat. No just niitähän ne Malamudin simpanssitkin harrastivat. Kz. lisää julmuuxia täältä. Vrt. myös Dostojevskia albumissa 111. Kz. myös Chicagon selkkaus alempana.
xxx/ellauri215.html on line 143: In 1961 Roth visited Bernard Malamud in Oregon. Roth was still in his twenties and had just published his first book of stories, Goodbye, Columbus. Malamud was almost 50 and one of the most famous writers in America. This meeting was immortalised in one of Roth’s greatest books, The Ghost Writer. In this 1979 work, a young writer, Nathan Zuckerman, visits EI Lonoff, a first-generation immigrant modelled on Malamud, who found a new voice for Jewish-American literature. He had found a voice but, more importantly, he had a subject: “life-hunger, life-bargains, and life-terror”—a Jewish experience rooted in the traumas of east Europe and Russia.
xxx/ellauri215.html on line 152: Kekäs se tää Lonoff niikö oli? Ilmeisesti Bernard Malamud. Lonoff was, according to Morris Dickstein, “based on Malamud” (Dickstein 189) and, according to Louis Harap, “a transparent representation of Bernard Malamud” (Harap 146). Berny taisi tosiaan olla tollanen anaalinen vaimonpetturi, itki nussiessaan nubiileja coedejä.
xxx/ellauri215.html on line 155: In 1942, Malamud met Ann De Chiara (November 1, 1917 – March 20, 2007), an Italian-American Roman Catholic, and a 1939 Cornell University graduate. They married on November 6, 1945, despite the opposition of their respective parents. Ann typed his manuscripts and reviewed his writing. Ann and Bernard had two children, Paul (b. 1947) and Janna (b. 1952). Janna is the author of a memoir about her father, titled My Father Is A Book.
xxx/ellauri215.html on line 157: Malamud was Jewish, an agnostic, and a humanist, and a book.
xxx/ellauri215.html on line 179: Roth on niin kateellinen Malamudille eze panee sen panemaan Anne Frankia. Kyllähän Anne olikin ihan panettava sinänsä, ei siinä midiä.
xxx/ellauri329.html on line 97: In 2004, Harper’s magazine published Natasha, a first short story by a promising 31-year-old Jewish Canadian writer, David Bezmozgis. This memorable tale of a doomed teenage love between Mark, a Jewish Toronto slacker, and his troubled (shiksa) Russian cousin by marriage was eventually released in a collection chronicling the lives of a Latvian immigrant family, not unlike the author’s own. Bezmozgis’s debut became a cult sensation with critics drawing literary comparisons to Bernard Malamud and Philip Roth. The story was subsequently reprinted in 15 languages. After penning two more acclaimed novels, then writing and directing his first feature Victoria Day (SFJFF 2010), Bezmozgis finally brings his modern classic to the big screen in a remarkably assured adaptation that’s both highly provocative and deeply poignant. At the heart of this emotional, coming-of-age drama are the extraordinarily measured performances of Alex Ozerov as Mark and newcomer Sasha K. Gordon as the sexually precocious Natasha, the dark star who forever alters Mark’s staid, suburban existence. Fans of the writer’s original source material will not be disappointed in David Bezmozgis’s haunting narrative of forbidden love caught between the old world and the new, further proof of this talented artist’s notable command of both literature and the cinema. —Thomas Logoreci Note: Mature Content. A New Life in the west means a second chance for precocious Latvian jews.
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