Waterland

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Atmosferiškas, gilus, persmelktas pelkių, vandens ir cikliškumo pasakojimas. Emociškai sunkus kaip švinas, bet teikiantis begalinį pasimėgavimą!

It's a totally bizarre story, I went with its bizarreness," says Swift. "I suppose of all the stories in the book it is the most weirdly many-faceted. It brings together so many diverse things in, of all places, Exmoor." Children, beware the paternal instinct whenever it appears in your officially approved and professionally trained mentors. In what direction is it working, whose welfare is it serving? This desire to protect and provide, this desire to point the way; this desire to hold sway amongst children.’ Swift was influenced by Isaac Babel when he was younger, and kept a photograph of the Russian writer on his desk. Although "deeply attached" to the English language he sees himself as European and is against the decision to open the Man Booker prize to US writers. "Each prize has its own remit, why expand it?" he asks. "It's like saying at the Commonwealth Games, 'Let's have the Americans!' The reverse is not the case: the Pulitzer prize is not open to British writers. It's almost like saying they deserve to win the prize, and I don't think so." C hange and Continuity: The novel explores the tension between change and continuity, particularly in relation to the shifting landscape of the Fens. While the draining of the Fens represented a profound change in the region, the novel suggests that the underlying rhythms and cycles of life continue, albeit in different forms. Waterland is a 1983 novel by Graham Swift, set in the Fenland of eastern England. It won the Guardian Fiction Prize, and was shortlisted for the Booker Prize.

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Masculinity and Identity: The novel explores themes of masculinity and identity, particularly through the character of Tom, who struggles to come to terms with his own sense of self and place in the world. The novel also examines the ways in which societal expectations of masculinity can lead to violence and aggression. The left side of my brain admired the novel’s ambition and scope. The right side of my brain remained detached and I was unable to stay immersed. The headmaster has no sympathy for Tom’s new approach, even though it rekindles student interest in history. The headmaster tries to entice Tom into taking an early retirement at a decent pension. Tom resists because his leaving would mean that the History Department would cease to exist and history would simply be combined with the broader area of General Studies. Graham Swift's novels deal with the extraordinary in the ordinary. In their settings, language and characterisations Swift's novels are sparse and consciously drab. His protagonists are often ordinary men, middle-aged clerks or teachers or accountants. In their voices Swift ponders some of the bigger issues of life - death, birth, marriage and sex - as well as the everyday politics of relationships and friendships. His intricate narrative patterns raise questions about the relationship between personal histories and world events, between personal and public perceptions. He highlights the impossibility of creating a single objective reality, fictional or otherwise, and through fiction investigates the very nature of fiction.

Büyük anlatı demişken; anlatıcımız Fransız devrimi uzmanı ancak bu ve diğer bütün büyük anlatılar haliyle bir dünya imkanı varken işe yarayan bilgiler ve kendi dünyasının çöküşü, öğrencilerinin dünyanın genel çöküşünü – rüyaya dair bölümü, nükleer felaket beklentili 80’ler- beklediği momentle çakışınca ve dahi tarih kesintiye uğramışken başka bir anlatını kapısı açılıyor. Tarihsel ilerlemenin bir adım ileri iki adım geri formunun benzeri bir biçimde anlatı, kişisel olanın sınırlarının tarihsel olanın sınırıyla bulanık bir halde ileri geri savruluşuna hikaye dinleyicisi olarak tanık okur olarak eşlik ediyoruz sayfalar boyunca. Anlatını merkezinde bir hikaye, üç ceset ve bir tarih var: 1943. Adorno az sonra şiirin sonunu ilan edecek, Hitler sonu ya zafer ya hüsran olacak adımlar atacak ama biz dünyanın sonuna kadar biraz daha hikaye dinleyeceğiz ama hiçbir hikaye bize sonuna kadar burada ne oluyor, ne olmuştu, ne oldunun cevabını vermeyecek. Tarihi biraz biliyorsak, bütün anlatıların öznel olduğunu da biliyoruzdur ve biraz Faulkner biliyorsak geçmişin asla geçmediğini, geçmişin geçmiş bile olmadığını biliyoruz. I'm not kidding. This book gets a little ridiculous. It's a semi-Postmodern text examining the difficulty of writing Realism in a Postmodern era, but it goes off on romantic (not Romantic) tangents about natural history and cultural history and all, in a very Julian Barnes ( A History of the World in 10 1/2 Chapters) way. Then it goes into creepy, Stephen King-esque scenes with the children exploring the two great draws in life: sex and death. (The only constants, heh.) I ended up wishing either Stephen King or Julian Barnes had written it, and focused on it - as it is, the tension is uneasy, and yet uneasy in a way that really contributes to the novel and its aims. Although I do love how the idea of storytelling is played with in this novel: the idea that we can't bear reality without the stories we create to endow it with meaning, because otherwise reality is too strong, too harsh, and will overpower us. But again, that's very Barnes. Swift suggests that history is cyclical, that any revolution for a better future is always based on a vision or an adapted reflection of a period of prosperity and wellbeing in the past. That a change leads to another change, which does not always mean progress. That there is also regression and repetition. The Fens, where the biggest part of the story is based, serve Swift as the main metaphor of this cyclicality. Despite centuries of efforts to drain and improve the land in the fens, the water had always found the way to return through rains and floods, bringing disasters to the inhabitants. All these stories are bits of England but they are bits of different Englands," he says. "England now is such a heterogenous, indefinable place. I like the title England and Other Stories because what a lot of people think of as England may be just a story now. I myself am obviously unequivocally and indigenously English, I was born in England and I'm very attached to my country. But I think as a writer all the time I'm approaching it as though it might be a strange place." The telling shifts this way and that in time. The telling is fragmentary and nonlinear. This is a technique that usually does not appeal to me, but it works here!

Mainly, however, it was the descriptions of the Fens: "a landscape which, of all landscapes, most approximates to Nothing". A vast empty place inhabited by willow-the-wisps, potato-heads and a people filled with "phlegm", "mucus" and "slime" by the dank air.

Kaip aš jums noriu papasakoti apie šią knygą, ir kartu kaip jaudinuosi, kad neužteks žodžių, kad nežinau nuo ko pradėti. O jausmų tiek daug ir gilių kilo, ir nesu tikra, ar visus juos įžodint galiu. Swift is a private person and does not have an extensive public persona. He currently lives in London with his partner Candice Rodd. He is still actively writing. Graham Swift Books Her father forces her into seclusion, and for three years she remains isolated. The two fathers finally agree to allow their children to come together again. Unknown to them, Tom, away fighting in World War II, has already written to Mary. When he comes home, the two marry. Tom begins his teaching career while Mary takes a job in an old people's home.Rainer, Peter (6 November 1992). "MOVIE REVIEW: The Past Flows Poetically Through 'Waterland' ". Los Angeles Times . Retrieved 20 March 2020. Bir tarih öğretmenimiz var ve onun kişisel tarihi, ailevi tarihi, meslek olarak tarihçiliği –tarihte kesintiye gidiyoruz- ve dünyanın sonunun tarihi özel bir anda eşzamanlı olarak çökmek ya da kitaba yaraşır bir şekilde söylemek gerekirse batmak üzeredir ama hiç batmamış olsak da biliriz ki batma eylemi bir çırpıda gerçekleşmez, zamana yayılır, ağır ağır gerçekleşir, yardım çığlıkları, ağıtlar, küfürler ve söylenmeler batış anına eşlik eder. Son kertede çırpınmadan geriye determinizm kalır, olması gereken olur ya da kitaba uygun bir şekilde söylemek gerekirse akacak kan bacak arasında durmaz. Ama yine biliriz ki “bebeklerin sevgiden neşet etmesi” gibi tarihte hikayelerden neşet eder. But while magnetised by this glimpse of the world of books – and still keen on lunches, though publishing has moved on from the days of long, boozy meetings in restaurants – his fiction remained closely focused on the ordinary lives of undistinguished people. Or rather, people whose distinction was unnoticed by the world at large, but which it became Swift's mission to portray in his books. Graham Colin Swift FRSL (born 4 May 1949) is an English writer. Born in London, England, he was educated at Dulwich College, London, Queens' College, Cambridge, and later the University of York.

Pradėjus skaityti galvojau "kaip žmogus gali taip gerai rašyti?". Ir iki šiol tas jausmas liko. Ši istorija - tai dėlionė akylam ir neskubančiam skaitytojui. Ji supinta iš subtilių užuominų, kurios viena po kitos atskleidžiamos ir po truputį dedamos į savas vietas parodo pilną vaizdą. Aš joje tiesiog mėgavausi. Pasakojimo stiliumi, pasirinktomis temomis, magijos ir pasakos priemaišomis, istorija ir beprotybe, pelkėmis, vandenimis ir jų žmonėmis. 💛

Swift says the experience of writing stories again has been "joyful", and cites recent awards, a Nobel prize for Alice Munro and the Folio prize for George Saunders, as signs of the form's resurgence. But he resists any suggestion of a conscious change of direction. While he talks with pride of how he made himself a writer through sheer determination, he regards fiction itself as beyond rational explanation. Graham Swift kulağımıza yer yer güçlü çığlıklar haline bürünen çok özel bir hikaye fısıldıyor Su Diyarı kitabıyla. Tarihe geçmeden mekâna bir uğrayalım zira öğretmenimiz tarihçi olduğu kadar yetkin bir coğrafya bilgisine de sahip. Su diyarı namlı Fens, İngiltere’nin kuzey doğusunda insan emeği ile yaratılmış bir bölge, yüzlerce yıla yayılan bir süreç ve çaba sonucunda su diyarının göbeğine bir toprak diyarı inşa ediliyor. Anlatıcımız buranı yerlisi su diyarı insanları ile bölgeye toprağı taşıyan toprak insanlarının soyundan geliyor. Bu iki diyar iki farklı insan türünü de ortaya çıkarıyor. Su insanları doğaları ile barışık ve doğanın sunduğu nimetlerle –yılanbalıkları nereden geliyor- yaşarken toprak insanları sürekli bir gelişim, çatışma ve doğayı hizaya sokmanın tüm ard anlamları ve olumsuzluklarını bağrında taşıyorlar. Bu iki dünyanın çatışması metni ekolojist bir yoruma da açık kılıyor olsa da yazar bunu ve çatışmanın gerilimini büyük sözler sarf etmeden metnin son sahnesine kadar taşıyor ve nihayetinde topraktan gelen soy –dünyanın kurtarıcısı- karanlık sularda nihayete eriyor ya da kitaba sadık kalarak söylemek gerekirse doğanın tarihi büyük anlatının tarihine baskın geliyor. Graham Swift is the author of Waterland. He was born in 1949 and had a relatively comfortable childhood. Swift became a Cambridge graduate in 1970 with a degree in English.