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Book Title: Hotel Iris|
The author of the book: Yōko Ogawa
Date of issue: March 2005
ISBN 13: 9788843805037
Format files: PDF
The size of the: 1.12 MB
Edition: Marco Tropea
Read full description of the books Hotel Iris:Hotel Iris. Come ogni sera Mari è seduta dietro al banco della reception in attesa che gli ospiti si ritirino nelle stanze. Ma una violenta lite rompe il silenzio della modesta pensione sul mare. Una donna, probabilmente una prostituta, impreca contro l’uomo che è con lei. Lui, distinto e imperturbabile, la mette a tacere con voce calma e assertiva. Proprio quella voce strega Mari, che, dopo un incontro casuale, decide di seguire l’uomo nel labirinto di un’iniziazione sessuale che segnerà la sua definitiva perdita dell’innocenza. Un inquietante romanzo di de-formazione dove lo stile essenziale e chirurgico di Yoko Ogawa nasconde l’insopportabile deflagrare di un amore senza limiti.
Read information about the authorYōko Ogawa (小川 洋子) was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya. Since 1988, she has published more than twenty works of fiction and nonfiction. Her novel The Professor and his Beloved Equation has been made into a movie. In 2006 she co-authored „An Introduction to the World's Most Elegant Mathematics“ with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers.
A film in French, „L'Annulaire“ (The Ringfinger), directed by Diane Bertrand, starring Olga Kurylenko and Marc Barbé, was released in France in June 2005 and subsequently made the rounds of the international film festivals; the film, some of which is filmed in the Hamburg docks, is based in part on Ogawa's „Kusuriyubi no hyōhon“ (薬指の標本), translated into French as „L'Annulaire“ (by Rose-Marie Makino-Fayolle who has translated numerous works by Ogawa, as well as works by Akira Yoshimura and by Ranpo Edogawa, into French).
Kenzaburō Ōe has said, 'Yōko Ogawa is able to give expression to the most subtle workings of human psychology in prose that is gentle yet penetrating.' The subtlety in part lies in the fact that Ogawa's characters often seem not to know why they are doing what they are doing. She works by accumulation of detail, a technique that is perhaps more successful in her shorter works; the slow pace of development in the longer works requires something of a deus ex machina to end them. The reader is presented with an acute description of what the protagonists, mostly but not always female, observe and feel and their somewhat alienated self-observations, some of which is a reflection of Japanese society and especially women's roles within in it. The tone of her works varies, across the works and sometimes within the longer works, from the surreal, through the grotesque and the--sometimes grotesquely--humorous, to the psychologically ambiguous and even disturbing.
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