McEwan racconta vita e morte di due amici rivali: una divertita meditazione sugli aspetti più grotteschi della realtà umana.--Questo testo si riferisce a un'edizione fuori stampa o non disponibile di questo titolo.
There they meet George Lane, Molly's husband and another former lover Julian Garmony, the Foreign Secretary, who's despised by Molly's former lovers.
The novel traces the lives of the four men after Molly's funeral when they all face pinnacle moments in both their private and professional lives.
Amsterdam is a book without heroes. The characters fail to grab your sympathy, but this adds to the reader's curiosity as you try to unravel their true worth and nature. It's not a book about how the strong and ruthless survive but rather how obsession with work can turn into self-obsession and ultimately destruction as the books characters take personal desire over public responsibility.
The book's 196 pages make it more of a novella than a novel and some would argue that more time should have been given over to plot and character development. However an expansion of the books length could have faltered the quick tempo, that McEwan's rich language lends to the book, and the vagueness of the characters leads us to question rather than condemn them at the end, allowing for the books effect to linger long after the final page has been read.
This books quality has been questioned in comparison to other Booker winners but Amsterdam, a book so rich in dramatic irony should be judged on its own merits. This socio-political satire manages to examine such a thorny issue as human morality in a humorous and entertaining fashion and is a recommended read.
Who knows why it won the Booker Prize? Surely The Comfort of Strangers or The Innocent deserved it more. Other reviewers have suggested variously that the committee felt guilty about ignoring McEwan's previous work, or because the book featured an interplay between theme and character brilliant enough to justify the award. I interpret that to mean that the judges thought it clever that the novel's characters were shallow, and that the newspaper Vernon Halliday edited was shallow, and that the symphony Clive Linley wrote was derivative and fatally unvaried, and that ultimately the book itself was shallow, too, and so decided Amsterdam was a brilliantly self-referential piece of---I don't know, meta-fiction or something.
Maybe so, but some of the social commentary in the book reads like a magazine article rather than a novel, like a 2,000-word piece in a weekend supplement, and I expect more from McEwan: strong characters and images and themes that resonate in your head like a fascinating bad dream.
Amsterdam is light entertainment, a finely written but forgettable tale by a brilliant author who's capable of producing much, much better work.
McEwan's skill and craftsmanship make Clive and Vernon's thoughts and actions familiar to us, and the prose sparkles. Yet both men seem tinder dry, unengaged and hollow. Neither seemed more than his professional success; Clive an international composer---Vernon, a noted newspaper editor. The friends have a bitter falling out, and the crux of the novel, whether their friendship will be strong enough to overcome their differences plays out like a Greek tragedy.
On the down side, I never cared enough about either man to be more than academically interested in their rise and fall. The small book (193 pages) almost demands to be read in one sitting, as it is one continuous arc. Mr. McEwan doesn't fail in giving us a story, very well told, but I wished the vibrant Molly had not died before the tale began.