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The Death of Jesus por J. M. Coetzee
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The Death of Jesus (edição 2020)

por J. M. Coetzee

Séries: Jesus trilogy (3)

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1414192,522 (3.7)1
"After The Childhood of Jesus and The Schooldays of Jesus, the Nobel prize-winning author completes his haunting trilogy with a new masterwork, The Death of Jesus. In Estrella, David has grown to be a tall ten-year-old who is a natural at soccer, and loves kicking a ball around with his friends. His father Simón and Bolívar the dog usually watch while his mother Inés now works in a fashion boutique. David still asks many questions, challenging his parents, and any authority figure in his life. In dancing class at the Academy of Music he dances as he chooses. He refuses to do sums and will not read any books except Don Quixote. One day Julio Fabricante, the director of a nearby orphanage, invites David and his friends to form a proper soccer team. David decides he will leave Simón and Inés to live with Julio, but before long he succumbs to a mysterious illness. In The Death of Jesus, J. M. Coetzee continues to explore the meaning of a world empty of memory but brimming with questions"--… (mais)
Membro:Brimberry
Título:The Death of Jesus
Autores:J. M. Coetzee
Informação:[New York] : Viking, an imprint of Penguin Random House LLC, 2020.
Coleções:A sua biblioteca
Avaliação:
Etiquetas:Nobel Prize

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The Death of Jesus por J. M. Coetzee

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L'écriture de J.M. Coetzee est simple et infiniment puissante à la fois. La Mort de Jésus n'échappe pas à la règle. ( )
  sinaloa237 | Mar 17, 2024 |
Ironically, a cautionary tale against tales. The biblical allusions in The Death of Jesus do not connect Coetzee’s text to the New Testament; on the contrary, they emphasize how literature can become an empty shell isolated from the texts which shape culture and ground actual lives. David desires the company of Dmitri (a distorted echo of Raskolnikov in Crime and Punishment) and that of Don Quixote. With these companions at his side, young David dies without his kerygma (“proclamation”) ever materializing. Unlike the episodic narrative sections of Don Quixote, the gospel of David is never written. As Coetzee’s Jesus trilogy comes to an end the reader is left with nothing.

And of David’s foster father Simon, the narrator’s question is, “What sort of man will he be . . . [in the future]? Will he cease to be tame, prudent, dull? Will he become (too late) the man he should have been to be the right father for David: volatile, reckless, passionate? And if so, what will be his new name? (193-94). This reader hopes Coetzee will place him next to Walt Whitman’s Leaves of Grass, have Simon open the book to “I Sing the Body Electric,” and inundate Simon with a tidal wave of energizing affirmation. ( )
  VicCavalli | Feb 5, 2022 |
Opnieuw rijst in dit derde en laatste deel van de Jezus-trilogie de vraag in hoeverre Coetzee met de David-figuur een verwijzing naar Jezus van het Christendom heeft gemaakt of niet, en wat daar dan wel de bedoeling van mag zijn. Opnieuw zijn er elementen die op een link wijzen, maar andere die het dan weer tegenspreken. Ik laat het debat daarover eerlijk gezegd liever rusten en richt me op wat me in dit derde deel heeft geraakt, en wat afgestoten.
Aan de positieve zijde staat opnieuw die intrigerende Simon-figuur, de ‘adoptievader’ van de jonge David. Coetzee heeft de karakteristieken van deze figuur mooi doorgetrokken: hij blijft de man die alles beredeneerd en rationeel benadert, de bezorgde ouder die niet anders kan dan zich met de levensloop van David bemoeien, maar die intussen wel weet hoe beperkt zijn rol is, door het heel eigenzinnige karakter van David en door de manier waarop hij door anderen voortdurend op zijn plaats wordt gezet. Ik weet dat mijn sympathie voor Simon zeker te maken heeft met eigen persoonlijke ervaringen.
Knap vind ik ook hoe Coetzee het mysterieuze rond het leven en de dood van David weet op te wekken en in stand te houden, zonder een eenduidige conclusie toe te laten. Veel andere reviewers haalden het al aan: David mag dan misschien een mislukte Messias-zijn, we kunnen niet anders dan vaststellen dat hij bij veel anderen iets losgemaakt heeft, ook al herkennen we ons daar niet in. Dat heeft zeker niet alleen met de religieuze link te maken, maar absoluut ook met de kracht van verhalen die over anderen worden verteld, en dus ook met de kracht van de romankunst. Misschien is dat nog het sterkste gevoel dat na deze trilogie overblijft: het mysterieuze en onwezenlijke dat in de drie delen voortdurend opduikt en je als lezer voor raadsel stelt, blijft prikkelen en uitdagen, houdt je bezig; er zijn niet veel krachten in het leven die daartoe in staat zijn, en het is dus een kleine krachttoer dat Coetzee dat, zonder opzichtigheid weet op te wekken.
Tegelijk had ik bij de lectuur van dit derde deel toch ook een gevoel van teleurstelling: het verhaal is iets minder uitgesponnen en gelaagd dan de vorige delen, en na afloop zit je onvermijdelijk met de vraag, “is het dit”? En terwijl je die vraag stelt, bekruipt je tegelijk het gevoel dat die vraag niet alleen draait rond het verhaal van David, Simon en Inès, maar evengoed rond het leven. “Is het dit?”, of in de woorden van David zelf: “waarom ben ik hier?”. Hoevelen van ons stellen zich deze vraag niet op een bepaald moment in hun leven, en zeker op kantelpunten. Waarmee ik me er weer op betrap dat, ondanks dat vage gevoel van teleurstelling, Coetzee je toch weer flink bij de lurven heeft genomen. Hoed af! ( )
  bookomaniac | Mar 5, 2021 |
This book was way beyond me. Is the world devoid of meaning? What is our purpose. I realize its allegorical, and I haven’t read the first two books in the trilogy,_The Childhood of Jesus_ and _The Schooldays of Jesus_ and if I had I probably wouldn’t have tackled this one. If you read it expecting to read about Jesus, you’ll find where the allegory comes in. It focuses on a child and his guardian. In this book the child, David, dies at the ages of 10. If you’re looking for something about faith you won’t find it here. ( )
  brangwinn | May 31, 2020 |
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Nome do autorPapelTipo de autorObra?Estado
Coetzee, J. M.autor principaltodas as ediçõesconfirmado
Bergsma, PeterTradutorautor secundárioalgumas ediçõesconfirmado

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"After The Childhood of Jesus and The Schooldays of Jesus, the Nobel prize-winning author completes his haunting trilogy with a new masterwork, The Death of Jesus. In Estrella, David has grown to be a tall ten-year-old who is a natural at soccer, and loves kicking a ball around with his friends. His father Simón and Bolívar the dog usually watch while his mother Inés now works in a fashion boutique. David still asks many questions, challenging his parents, and any authority figure in his life. In dancing class at the Academy of Music he dances as he chooses. He refuses to do sums and will not read any books except Don Quixote. One day Julio Fabricante, the director of a nearby orphanage, invites David and his friends to form a proper soccer team. David decides he will leave Simón and Inés to live with Julio, but before long he succumbs to a mysterious illness. In The Death of Jesus, J. M. Coetzee continues to explore the meaning of a world empty of memory but brimming with questions"--

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