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Death on credit de Louis-Ferdinand…
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Death on credit (1936 original; edició 1966)

de Louis-Ferdinand Céline, Ralph Manheim

MembresRessenyesPopularitatValoració mitjanaMencions
1,702197,466 (4.2)78
No Marketing Blurb
Títol:Death on credit
Autors:Louis-Ferdinand Céline
Altres autors:Ralph Manheim
Informació:London : Calder, 1989, c1966.
Col·leccions:La teva biblioteca
Etiquetes:year missing in catalog

Detalls de l'obra

Mort a crèdit de Louis-Ferdinand Céline (1936)

  1. 10
    Viatge al fons de la nit de Louis-Ferdinand Céline (psybre)
    psybre: For further education of the Parisian downtrodden and destitute population, and some of the avenues whereby they ply their sorrow.
  2. 10
    Fam de Knut Hamsun (helio_)
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» Mira també 78 mencions

Anglès (12)  Neerlandès (4)  Francès (2)  Finès (1)  Totes les llengües (19)
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Once again I'm left feeling a bit let down by Celine. Some of that is his fault, and some of it is not.

Not his fault: that he's billed as the great nihilist of modernism, but seems to me a good deal less nihilistic, or interesting, than any number of other modernists; that writing in everyday lingo is no longer shocking or interesting; that talking about fucking is no longer shocking or interesting; that Mannheim translates him--accurately, for all I know--to sound like the mildly grumpier brother of Holden "Golly Gee Mister" Caulfield.

His fault: that this thing is so massively over-long; that the repetition doesn't go anywhere.

Journey to the End of the Night was just dull, I thought, but DotIP has some genuinely fabulous portions: basically, anytime we're thrown into a truly hallucinatory 'depiction' of the world. The realism is just realism with ellipses; the hallucinatory passages are something else altogether. Occasionally Ferdinand will tell us a bit of cod medieval-romance, the parody of which isn't so fascinating, nor informative: if you don't pick up on the fact that this is a picaresque and that it is, like Don Quixote, taking aim at its contemporaries, reading about Gwendor won't bring it home to you.

Otherwise there are four main narratives--Ferdinand's time with his family; his time with the jeweler; his time at school in England; his time with the balloonist and inventor Courtial. Which you prefer will be largely a matter of taste. I found the father figures, whether biological or balloonist, boring. Others might not. The problem is that finding Courtial boring makes the second half of the book boring, and I really would have preferred to just re-read the first section here, where a middle-aged Ferdinand goes on his rounds and rants about the sink that is humanity. More ranting, less narrative, please. ( )
  stillatim | Oct 23, 2020 |
needles don't draw blood
they infect the lungs
and as childhood creeps
so does the ancient stone of memory
let me dress that injury
feel the trees as I hunger
and bless the soul of my dead body. ( )
  PeterS111 | Apr 8, 2020 |
Céline hates with the intensity, the narrowness, and the purity of the Large Hadron Collider's accelerated particles. It is not comfortable to encounter this in my old age; I was receptive to it in my own Age of Rage, though, and was well-served by reading the bitter and bilious thing then.

If you haven't been here before middle age, I wouldn't advise making the trip. ( )
  richardderus | Feb 18, 2020 |
This astonishing work, a neglected classic of high modernism, was urged on me by my friend Ron Kolm -- always a reliable guide when it comes to Continental literature. It is not like any other book I have ever read. Massive, sprawling, obscene, brutal, Death on the Installment Plan tells the loosely autobiographical story of the narrator's youth in the slums of Paris, his time at a boarding school in England, and his apprenticeship to a con man/scientist/inventor named Courtial des Pereires -- one of the great satiric creations of modern literature. Céline's narrative is essentially one immense 588-page outpouring of vitriolic, profane, often scatological inner dialogue, punctuated only by ellipses and infrequent space breaks, a stream-of-consciousness that rivals Joyce or Proust in its density and single-mindedness. Its nihilism and relentless energy would be deadening if it weren't for the streak of wild, irreverent humor that runs through even the most desperate and sordid passages of the book. A monumental affair, and not for the faint of heart. ( )
  MikeLindgren51 | Aug 7, 2018 |
Cazzo! Se tutti i filo-nazisti scrivessero così vorrei bene a tutti loro! Ma Celine è (L')unico :-PSdoganamento della parolaccia (quasi mai inutile però), del brontolio rancoroso con sputazzamento alla francese, tanto, TROPPO, cinismo, ok, ma il Louis parte in quarta e vi porta via con sé. Insieme a tutto il resto (polemiche incluse). ( )
  downisthenewup | Aug 17, 2017 |
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» Afegeix-hi altres autors (13 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
Céline, Louis-Ferdinandautor primaritotes les edicionsconfirmat
Aulanko, SirkkaTraductorautor secundarialgunes edicionsconfirmat
Bökenkamp, WernerTraductorautor secundarialgunes edicionsconfirmat
Hill, JamesAutor de la cobertaautor secundarialgunes edicionsconfirmat
Hindus, MiltonIntroduccióautor secundarialgunes edicionsconfirmat
Manheim, RalphTraductorautor secundarialgunes edicionsconfirmat
Marks, John H.P.Traductorautor secundarialgunes edicionsconfirmat
Woerden, Frans vanTraductorautor secundarialgunes edicionsconfirmat
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Habillez-vous !
Un pantalon!
Souvent trop court, parfois trop long.
Puis veste ronde !
Gilet, chemise et lourd béret
Chaussures qui sur mer feraient
Le tour du Monde !...

Chanson de prison.
Primeres paraules
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Nous voici encore seuls. Tout cela est si lent, si lourd, si triste... Bientôt je serai vieux. Et ce sera enfin fini. Il est venu tant de monde dans ma chambre. Ils ont dit des choses. Ils ne m’ont pas dit grand-chose. Ils sont partis. Ils sont devenus vieux, misérables et lents chacun dans un coin du monde.
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Mitjana: (4.2)
1 4
1.5 1
2 10
2.5 2
3 35
3.5 13
4 87
4.5 16
5 129

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