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Limonov (2011)

por Emmanuel Carrère

Outros autores: Ver a secção outros autores.

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7272430,913 (3.86)22
"A thrilling page-turner that also happens to be the biography of one of Russia's most controversial figures This is how Emmanuel Carrère, the magnetic journalist, novelist, filmmaker, chameleon, describes his subject: "Limonov is not a fictional character. There. I know him. He was a rogue in Ukraine; an idol of the Soviet underground under Brezhnev; a bum, then a multimillionaire's valet in Manhattan; a fashionable writer in Paris; a lost soldier in the Balkan wars; and now, in the chaotic ruins of postcommunist Russia, the elderly but charismatic leader of a party of young desperados. He sees himself as a hero; you might call him a scumbag: I suspend my judgment on the matter. It's a dangerous life, an ambiguous life: a real adventure novel. It is also, I believe, a life that says something. Not just about him, Limonov, not just about Russia, but about all our history since the end of World War II." So Limonov isn't fictional--but he might as well be. This pseudo-biography isn't a novel, but it reads like one: from Limonov's grim childhood; to his desperate, comical, ultimately successful attempts to gain the respect of Russia's literary intellectual elite; to his emigration to New York, then to Paris; to his return to the motherland. Limonov could be read as a charming picaresque. But it could also be read as a troubling counter-narrative of the second half of the twentieth century, one that reveals a violence, an anarchy, a brutality that the stories we tell ourselves about progress tend to conceal"--… (mais)
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Inglês (10)  Francês (5)  Espanhol (4)  Italiano (4)  Catalão (1)  Todas as línguas (24)
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(version française)

I first heard of Édouard Limonov through Adam Curtis’ most recent series Can’t Get You Out of my Head. I went back and watched the scenes that feature Limonov after finishing this book and was startled by the difference in tone between the way Carrere depicts him vis a vis Curtis. In this book we are presented with a Limonov who early in his life was cast as the iconoclastic rebel, the anti-elitist punk turned fascist and violent nationalist. Carrere is clearly disturbed and confused by this supposed change undertaken by Limonov in the later part of his life. However, he goes through pains to make us understand that he is unusually sympathetic towards Limonov’s actions in comparison to the liberal milieu of Parisian writers and intellectuals he lives amongst; people who wanted nothing to do with the Russian writer after he was shown in Pawel Pawilowski’s documentary firing a machine gun towards the besieged Sarajevo in the early 90s. Throughout the book, Carrere seems to be searching for a way to explain the fascination he feels for Limonov to himself and to the reader. Despite valiant efforts, he never quite succeeds, evinced by the books closing pages. I wonder if Carrere had written this book now if he would feel differently. The world of the 00s and early 10s feels light years away from the present we currently inhabit, and I think every passing year brings Limonov’s sentiments into clearer focus. (I deliberately use the word sentiment, because going by this book, Limonov never codified his intuitive beliefs about the world into any kind of philosophy or -ism, for better or worse) Limonov knew that with the fall of the Soviet Union Russia was entering into a profoundly dark period of history that has played out just as he expected. This in combination with the systemic rot he inhabited while living in the west certainly played into forming his pessimistic perspective on how the world was progressing, a perspective that seems more and more vindicated. What made Limonov a compelling figure was his willingness to face reality as it truly was. He pulling back the shroud of neoliberal class apartheid as it existed in the West, and he scorned the sacrifice of all tradition and collective identity for the sake of material gain in the post-Communist states. Anyone who faces the world as it truly is, without the protection of platitudes and propaganda, will, even should, be radicalized. Was Limonov toying with dangerous ideas? Absolutely. Was he fraternizing with evil people? It seems so. But I think he was attracted to strains of thought potent enough to abnegate the rising tide of the destructive world order we are now living with, and through this attraction pursued ideas beyond what most of us would feel comfortable with. But I think it’s important to the consider the fact that, just as Carrere is searching for a lens through which to view this complicated man, Limonov was perhaps also searching. We are unfortunately only given brief glimpses into his inner psychology, he who was so opaque. When any kind of inner dilemma is reveal, it sticks out for the incongruity. Limonov typically came off so self-assured that he was on the moral high ground, but It does, after all, take supreme self-confidence (fabricated as it may be) to make any kind of impact on the scale that he pined for.

Curtis, in contrast with Carrere, shows Limonov as a kind of pure provocateur, someone who knew that he had to bring out the “big guns” in order to fight against the ascendant powers of neoliberalism and global capital that were taking over the world. These “big guns” were namely the most demonized credos of the last century, Bolshevism and fascism. In Curtis’ telling, Limonov wanted to reclaim these ideas, so demonized by those he set himself in opposition against, because they were the last mass movement that truly allowed for the subsuming of the individual, and therefore made change a possibility. Limonov and his enemies both knew that this kind of mass movement was the only thing that could stop their winning streak. The fact that both parts of the National Bolshevik namesake were responsible for the widest scale human rights abuses in history was, to Limonov, beside the point. In his conception, if we lose sight of the factors that made them both so successful in the first place, something even more important than human life may be at stake.

I think Curtis’ depiction will be shown as more in line with how history will see Limonov. We are after all, still developing the vocabulary and intellectual framework to understand the current shitshow we find ourselves in. Do I think Limonov was correct in everything or even most of what did and believed? No, I don’t. But I think people like him are essential to finding new ways to make the world a better place and fighting against the cynical, nihilist apparatus that has installed itself at the head of world affairs. ( )
  hdeanfreemanjr | Jan 29, 2024 |
Ciertas hojas valen la pena. Inferior a El Adversario. ( )
  Alvaritogn | Jul 1, 2022 |
La vida d'Eduard Savienko (Limónov), nascut el 2 de febrer de 1943, quan les tropes russes estan fent caure el nazis alemanys. Nascut a Ucraïna, des dels cinc anys viu a Járkov fins als 23 que se´n va a Moscou (1967), després d'uns anys a la capital del país on escriu poesia i es casa amb Anna, una dona molt més gran que ell, emigra als EEUU (1974) on porta una vida de rodamón. Se n'hi va amb la seva nova parella Helena, una dona jove i bonica que creu que arribarà a Amèrica i es convertirà en actriu i tindrà el món als seus peus, res més allunyat del que s'hi van trobar.Comença a escriure les seves novel·les. Al 1980 s'installa a París i les seva obra fa furor, s'envolta del bo i millor de la intelectualitat parisenca. Al 1989 retorna a Járcov i visita als seus pares. S'està a Moscou, funda un partit polític,el partit Nacional Bolxevic. Decideix incorporar-se a la lluita dels servis, el 1991 participa activament en la guerra dels Balcans, lluita a Krajina. I al 1994 se'n va a Altai, on inicïa una època de misticisme. Al 2001 es detingut i empresonat del 2001 al 2003. Es alliberat tot i ser un enemic acèrrim de Putin.
L'autor de la novel·la barreja la vida de Limónov amb la seva pròpia vida i cap a la meitat de la novel·la quasi s'oblida del seu personatge perquè ens descriu més la seva vida i la de la seva família que no pas la de Limónov,. Sí que després retorna al seu personatge però trobo que aquesta part se m'ha fet feixuga de llegir.
Qui és Limónov? Un aventurer? Un il·luminat? Un home que ha fet front a tot i ha aconseguit en bona mesura allò que s'havia proposat? Un seductor? Una bèstia sexual? Un aspirant a polític? És un bon home ? O bé és maligne? Ho és gairebé tot, depèn del moment. ( )
  Nuriagarciaturu | Jun 19, 2022 |
"Retrato de un feroz enemigo de Putin", El País 02.02.2013: https://elpais.com/cultura/2013/01/30/actualidad/1359551177_102833.html
  Albertos | Apr 14, 2022 |
Eduard Limonov is one of those people who are far more interesting, the LESS you know about them. I have given the book three stars because its deficiencies cannot be blamed upon the writer, or translator, as much as the subject.

Upon a brief acquaintance, Limonov comes across as an intriguing character: on further inspection, he becomes a narcissistic creature. I couldn't begin to guess as to whether he believes ANY of his 'principles'; they are certainly easily shed when a new chance to gurn in front of the media appears.

My advice about this book: don't bother, there are much more exciting people about whom to read. ( )
  the.ken.petersen | Mar 28, 2021 |
Mostrando 1-5 de 24 (seguinte | mostrar todos)
Extremisten-Biografie "Limonow": Pussy Riots düsterer Vorgänger - Nationalbolschewist, Sex-Abenteurer, Selbstdarsteller: Der Schriftsteller Eduard Limonow ist eine der schillerndsten Figuren der russischen Politik und fordert mit provokanten Aktionen den Staat heraus. Eine Biografie widmet sich nun seinem Leben - voller Abscheu und Faszination.
adicionada por Schizophrenia86 | editarSpiegel Online, Oskar Piegsa (Aug 31, 2012)
 
“This deft, timely translation of French writer and filmmaker Carrère's sparkling 2011 biography of Eduard Limonov is an enthralling portrait of a man and his times. The subtitle is no exaggeration: Limonov, a prolific and celebrated author, cofounder of Russia's National Bolshevik Party, onetime coleader of the Drugaya Rossiya opposition movement, and current head of Strategy 31 (which organizes protests in Russia aimed at securing the right to peacefully assemble), has led an extraordinary life. Carrère suggests that Limonov's haphazard turns--from budding poet, disillusioned émigré, New York City butler, and Parisian literary rock star to Russian countercultural maverick, Putin opponent, and political prisoner--have been prompted by his drive for adventure and fame . . . Carrère's Limonov never dissolves in a mess of unfathomable contradictions. Instead, he emerges as a mirror through which the vortex of culture and politics in the late-Soviet and New Russian eras is reflected. In this astute, witty account, Limonov has found his ideal biographer. There are few more enjoyable descriptions of Russia today.”
adicionada por davidgn | editarPublisher's Weekly
 
“There's an obsession that has always tormented Emmanuel Carrère and that has forced him to become the greatest living French author: to unearth his three demons [deception, savagery, loss], to drive them away, and, if possible, to reveal them to the world through books which prove themselves necessary . . . Limonov . . . is the human being who more than any other embodies Carrère's three demons and adds a crucial one of his own: the desire to challenge the world.”
adicionada por davidgn | editarCorriere della sera, Marco Missiroli
 
“[Emmanuel Carrère] is probably the most important French writer you've never heard of.”
adicionada por davidgn | editarThe Observer, Robert McCrum
 
“[An] addictively interesting narrative (nimbly translated by John Lambert) . . . the storytelling in Limonov is fast-paced and full of zest . . . The book grows in both excitement and absurdity as it charts Mr. Limonov's return to Russia after the collapse of the Soviet Union and his bizarre transformation into an ultranationalist. His National Bolshevik Party makes bedfellows of anti-Semitic extremists, counterculture artists and other social misfits, and, for a time during Boris Yeltsin's incompetent presidency, Mr. Limonov believes he can seize power. Mr. Carrère presents him as a kind of farcical exemplum of a new Russia run by drunks and gangsters--except that he loses out again, this time to Vladimir Putin, who trumps him in brutality and demagoguery just as Brodsky once one-upped him in literary renown. Even when it comes to immoral self-interest, Mr. Limonov is second-best, a failure and a loser. In other words, Mr. Carrère suggests, a hero of our time.”
adicionada por davidgn | editarThe Wall Street Journal, Sam Sacks
 

» Adicionar outros autores

Nome do autorPapelTipo de autorObra?Estado
Emmanuel Carrèreautor principaltodas as ediçõescalculado
Francesco BergamascoTradutorautor secundárioalgumas ediçõesconfirmado
Hamm, ClaudiaTradutorautor secundárioalgumas ediçõesconfirmado
Lambert, JohnTradutorautor secundárioalgumas ediçõesconfirmado
Vandenberghe, KatrienTradutorautor secundárioalgumas ediçõesconfirmado
Vuyst, Katelijne DeTradutorautor secundárioalgumas ediçõesconfirmado

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"A thrilling page-turner that also happens to be the biography of one of Russia's most controversial figures This is how Emmanuel Carrère, the magnetic journalist, novelist, filmmaker, chameleon, describes his subject: "Limonov is not a fictional character. There. I know him. He was a rogue in Ukraine; an idol of the Soviet underground under Brezhnev; a bum, then a multimillionaire's valet in Manhattan; a fashionable writer in Paris; a lost soldier in the Balkan wars; and now, in the chaotic ruins of postcommunist Russia, the elderly but charismatic leader of a party of young desperados. He sees himself as a hero; you might call him a scumbag: I suspend my judgment on the matter. It's a dangerous life, an ambiguous life: a real adventure novel. It is also, I believe, a life that says something. Not just about him, Limonov, not just about Russia, but about all our history since the end of World War II." So Limonov isn't fictional--but he might as well be. This pseudo-biography isn't a novel, but it reads like one: from Limonov's grim childhood; to his desperate, comical, ultimately successful attempts to gain the respect of Russia's literary intellectual elite; to his emigration to New York, then to Paris; to his return to the motherland. Limonov could be read as a charming picaresque. But it could also be read as a troubling counter-narrative of the second half of the twentieth century, one that reveals a violence, an anarchy, a brutality that the stories we tell ourselves about progress tend to conceal"--

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