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The Noise of Time: A novel por Julian Barnes
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The Noise of Time: A novel (original 2016; edição 2016)

por Julian Barnes (Autor)

MembrosCríticasPopularidadeAvaliação médiaMenções
1,4867812,543 (3.81)142
A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich--Julian Barnes's first novel since his best-selling, Booker Prize-winning The Sense of an Ending. 1936: Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, shot dead on the spot), he reflects on his predicament, his personal history, his parents, various women and wives, his children all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for years to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party, and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovich's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant meditation on the meaning of art and its place in society.… (mais)
Membro:omphalos02
Título:The Noise of Time: A novel
Autores:Julian Barnes (Autor)
Informação:Knopf (2016), Edition: First Edition, 224 pages
Coleções:A sua biblioteca
Avaliação:****1/2
Etiquetas:Nenhum(a)

Informação Sobre a Obra

The Noise of Time por Julian Barnes (2016)

  1. 00
    The Siege por Helen Dunmore (charl08)
    charl08: Linked by the experience of 'the terror'.
  2. 00
    The noise of time and other prose pieces por Osip Mandelstam (aileverte)
    aileverte: Barnes's book (not so secretly) dialogues with Mandelstam.
  3. 00
    Life and Fate por Vasily Grossman (aileverte)
    aileverte: Barnes subtly alludes to Grossman's work on many occasions.
  4. 00
    The Captive Mind por Czesław Miłosz (aileverte)
    aileverte: Miłosz delves into different types of comportments of artists living in a totalitarian regime.
  5. 00
    Sjostakovitsj zijn leven, zijn werk, zijn tijd por Krzysztof Meyer (gust)
  6. 00
    The Beginning of Spring por Penelope Fitzgerald (shaunie)
    shaunie: Barnes is a huge fan of Fitzgerald and her influence is clear in The Noise of Time.
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A novelistic biography of sorts of the Russian composer Dmitri Shostakovich - a very capable companion piece to Martin Amis's Koba the Dread. It's interesting how much I've read about 20th Century Russia lately. ( )
  soylentgreen23 | Jul 5, 2024 |
This is a book I am glad to have read. Here is a series of vignettes, incidents, refelections and mediatations on life in Cold War Russia seen through the eyes of Shostakovich. Through reading about his various innner conflicts and torments, we learn a great deal about the limits on personal integrity and conscience, endurance, and the influence of politics on art.

We only really meet the composer at three points in his life. As a young and frightened married man expecting to be denounced and taken away by Stalin's regime at any moment: as a propoganda vessel for the Soviet regime, sent to tour America: and a finally as a very elderly man, spiritually shattered and exhausted by the regime changes he has lived through.

This is a book which denounces spirit-sapping totalitarianism, while giving a real feel of the day-to-day reality of living under such a regime. As such, it's not an easy read, despite being a relatively short one. It's a book to reflect upon and to take quite slowly. It's not at all a feel-good holiday read. ( )
  Margaret09 | Apr 15, 2024 |
This book is really worthy of several reads. One read on the fear and paranoia of life as an artist in Stalin's Soviet Union. A second reading on the irony inherent in musical time, in which real time is a construct, and real music is eternal, and therefore not of any time. A third reading on the noises of reality, that the human mind stutters and stammers human existence. It is fearful and fearfully short of permanence. A fourth reading is about the quieting of the universe toward entropy, and the battle of creation to survive entropy. Perhaps the most painful reading of this book is on the level of betrayal and honour. Shostakovich betrays art and his fellow composers when he joins the Communist Party under pressure from the authorities. His weakness and confessions to the reader are simply sickening. And yet he knows how little value his betrayals are when compared to the artistic achievements of Stravinsky, for example. I am simply amazed by Julian Barnes' skill as a storyteller. ( )
  MylesKesten | Jan 23, 2024 |
Biography of Dmitri Dmitriyevich Shostakovich. Quite vividly paints the picture of civic life especially that of artist under Stalin's regime. ( )
  harishwriter | Oct 12, 2023 |
"Instead of killing him, they had allowed him to live, and by allowing hime to live, they had killed him."

Wow. This book is a masterpiece. So profound. I have never before read a book that more perfectly enscapsulates the anxious mind.

Would recommend having some background knowledge of Shostakovich and Soviet Russia before reading. ( )
  RRabas | Jun 16, 2023 |
Mostrando 1-5 de 78 (seguinte | mostrar todos)
In 1979, a book purporting to be Shostakovich’s memoir, entitled “Testimony,” appeared in the West, depicting a frustrated composer who despised Communism and hid veiled critiques of the Soviet regime in his music. . . . Barnes, who acknowledges “Testimony” as one of his major sources, gives us a mournfully sarcastic, frustrated Shostakovich, at once mocking of his Soviet patrons and stymied by his inability to break with them fully. In a sort of third-person monologue of impressions, vignettes, and diaristic reflections, he comes off as neither heroic nor craven, though he exhibits both traits on occasion. ...
... [W]ith this drily self-chastising, depressed, and exhausted composer, Barnes is also shielding himself from other Shostakoviches, such as the one who fiercely criticized an avant-garde young composer, whose work he had hitherto supported, when he discovered the deputy culture minister sitting in the audience and became frightened.
adicionada por aileverte | editarThe New Yorker, Nikil Saval (May 26, 2016)
 
Music was what Shostakovich "put up against the noise of time." Barnes' stirring novel about what is lost when tyrants try to control artistic expression leaves us wondering what, besides more operas, this tormented, compromised musical prodigy might have composed had he been free.
adicionada por aileverte | editarNPR, Heller McAlpin (May 10, 2016)
 
Using this third-person “Shostakovich,” but often switching into an unlocatable voice, like a biographer behind a literary veil, Barnes deftly covers three big episodes in the composer’s life: denunciation in Pravda and subsequent implication in an assassination plot; his trip to America, where he is humiliated as a Soviet stooge; and lastly, being forced to join the Communist Party. This story is truly amazing, as Barnes knows, an arc of human degradation without violence (the threat of violence, of course, everywhere). . . .
. . .
It’s a powerful portrait, and readers will have to decide whether they think this is “really” Shostakovich. I felt that he emerged as a (strangled) hero, but wished that Barnes would explain a little less, and show a bit more.
adicionada por aileverte | editarNew York Times, Jeremy Denk (May 9, 2016)
 
The book is, partly, an exercise in cold war nostalgia. But it’s also, more interestingly, an inquiry into the nature of personal integrity. Shostakovich made his accommodations with “Power”, and survived. For some people that damns him unequivocally. For Barnes, the matter is more complicated, and he weighs it carefully.
adicionada por aileverte | editarThe Guardian, James Lasdun (Jan 22, 2016)
 
The composer’s decline into ill health, the withering of his spirit, his hope that “death would liberate his music… from his life” – Barnes presents Shostakovich’s final downward spiral with a kind of ruthless inevitability (and inevitability is, as Susan Snyder says, the signal note of tragedy). Alexei Tolstoy wrote in Pravda of Shostakovich’s Fifth Symphony: “Here the personality submerges itself in the great epoch that surrounds it, and begins to resonate with the epoch.” Barnes has achieved a similar feat with a period of history, and a place, that despite their remoteness, are rendered in exquisite, intimate detail. He has given us a novel that is powerfully affecting, a condensed masterpiece that traces the lifelong battle of one man’s conscience, one man’s art, with the insupportable exigencies of totalitarianism.
adicionada por aileverte | editarThe Guardian, Alex Preston (Jan 17, 2016)
 

» Adicionar outros autores (21 possíveis)

Nome do autorPapelTipo de autorObra?Estado
Julian Barnesautor principaltodas as ediçõescalculado
Hörmark, MatsTradutorautor secundárioalgumas ediçõesconfirmado
Krüger, GertraudeTradutorautor secundárioalgumas ediçõesconfirmado
Philpott, DanielNarradorautor secundárioalgumas ediçõesconfirmado
Vlek, RonaldTradutorautor secundárioalgumas ediçõesconfirmado

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A compact masterpiece dedicated to the Russian composer Dmitri Shostakovich--Julian Barnes's first novel since his best-selling, Booker Prize-winning The Sense of an Ending. 1936: Shostakovich, just thirty, fears for his livelihood and his life. Stalin, hitherto a distant figure, has taken a sudden interest in his work and denounced his latest opera. Now, certain he will be exiled to Siberia (or, more likely, shot dead on the spot), he reflects on his predicament, his personal history, his parents, various women and wives, his children all of those hanging in the balance of his fate. And though a stroke of luck prevents him from becoming yet another casualty of the Great Terror, for years to come he will be held fast under the thumb of despotism: made to represent Soviet values at a cultural conference in New York City, forced into joining the Party, and compelled, constantly, to weigh appeasing those in power against the integrity of his music. Barnes elegantly guides us through the trajectory of Shostakovich's career, at the same time illuminating the tumultuous evolution of the Soviet Union. The result is both a stunning portrait of a relentlessly fascinating man and a brilliant meditation on the meaning of art and its place in society.

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