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Offshore download ebook

by Penelope Fitzgerald

Offshore download ebook
ISBN:
0395478049
ISBN13:
978-0395478042
Author:
Penelope Fitzgerald
Publisher:
Mariner Books; Mariner ed edition (April 3, 1998)
Language:
Pages:
144 pages
ePUB:
1741 kb
Fb2:
1437 kb
Other formats:
lrf docx mbr txt
Category:
British & Irish
Subcategory:
Rating:
4.8

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Offshore PENELOPE FITZGERALD Dedication For Grace and all who sailed in her Epigraph ‘che mena il vento, e che batte la pioggia .

Offshore PENELOPE FITZGERALD Dedication For Grace and all who sailed in her Epigraph ‘che mena il vento, e che batte la pioggia, e che s’incontran con sì aspre lingue. Laura was cutting something up into small pieces, with a cookery book open in front of her. She gave him a weary, large-eyed, shires-bred glance, a glance whose horizons should have been bounded by acres of plough and grazing. Loyalty to him, Richard knew, meant that she had never complained so far to anyone but himself about this business of living, instead of in a nice house, in a boat in the middle of London.

FREE shipping on qualifying offers. Offshore' is set in the 1960s and describes the relationships amongst a group of houseboat dwellers living on the Thames at Battersea Reach. The novel is part of a reissue programme for all of Fitzgerald's titles in Flamingo.

One of the most admired of all Penelope Fitzgerald's books, The Blue Flower was chosen as Book of the Year more than any other in 1995.

Set in Germany at the very end of the eighteenth century, The Blue Flower is the story of the brilliant Fritz von Hardenberg, a graduate of the Universities of Jena, Leipzig and Wittenberg, learned in Dialectics and Mathematics, who later became the great romantic poet and philosopher Novalis. One of the most admired of all Penelope Fitzgerald's books, The Blue Flower was chosen as Book of the Year more than any other in 1995.

About the best you can say is that they're often mostly floating. They're neither on shore nor completely away, this ramshackle group of liminal misfits, and Fitzgerald captures them in her Booker-winning 1979 novella stuck between worlds.

Penelope Fitzgerald was one of the most elegant and distinctive voices in British fiction. Three of her novels, The Bookshop, The Beginning of Spring and The Gate of Angels have been shortlisted for the Booker Prize. Her last novel, The Blue Flower, was the most admired novel of 1995, chosen no fewer than nineteen times in the press as the ‘Book of the Year’. It won America’s National Book Critics’ Circle Award, and this helped to introduce her to a wider international readership. She died in April 2000, at the age of eighty-three.

Penelope Fitzgerald has been compared variously to DH Lawrence, Evelyn Waugh and Martin Amis. I found myself unsympathetically disposed to almost everyone in Offshore, especially the whimsical Nenna, who seems to believe her self-indulgent life is terribly hard. Her admirers are drawn to Fitzgerald's sparseness of expression and her ability to trace the subtle social interactions between disparate characters, who often work or live together in small, offbeat communities. I am sure the fault is entirely mine but Offshore left me feeling rather like I had spent several hours on a draughty barge: cold and with dampened enthusiasm for the whole experience.

Penelope Mary Fitzgerald (17 December 1916 – 28 April 2000) was an English Booker Prize–winning novelist, poet, essayist and biographer. In 2008 The Times listed her among "the 50 greatest British writers since 1945". In 2012, The Observer. In 2012, The Observer named her final novel, The Blue Flower one of "the ten best historical novels".

graph among them, her address book, almost the whole sum of her identity. After all, she thought, if she did go away, how much difference would it make? In a sense, Halifax was no further away than 42b Milvain Street, Stoke Newington. All distances are the same to those who don’t meet.

Read unlimited books and audiobooks on the web, iPad, iPhone and Android. When Penelope Fitzgerald unexpectedly won the Booker Prize with Offshore, in 1979, at the age of sixty-three, she said to her friends: ‘I knew I was an outsider. The people she wrote about in her novels and biographies were outsiders, too: misfits, romantic artists, hopeful failures, misunderstood lovers, orphans and oddities.

Over 300,000 copies of her novels are in print, and profiles of her life appeared in both The New Yorker and The New York Times Magazine. In 1979, her novel Offshore won Britain's Booker Prize, and in 1998 she won the National Book Critics Circle Prize for The Blue Flower for a publishing debut made late in life" ( New York Times Book.

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Регистрация фирм в оффшорах! Сбор документов! Оплата госпошлин! Полное сопровождение! · Опыт более 20 лет · Полное сопровождение · Официальный регистратор · Содействие в подборе финансовых услуг/организаций

· Содействие в подборе финансовых услуг/организа.

· Содействие в подборе финансовых услуг/организаций

On the Battersea Reach of the Thames, a mixed bag of eccentrics live in houseboats. Belonging to neither land nor sea, they belong to one another. There is Maurice, a homosexual prostitute; Richard, a buttoned-up ex-navy man; but most of all there's Nenna, the struggling mother of two wild little girls. How each of their lives complicates the others is the stuff of this perfect little novel.
Reviews:
  • Kale
"Offshore" is a slender, accessible novel that some readers might think, as some critics did when it was first published and as I did on first reading it, a bit of a lark--quirky, often very funny, but ultimately insubstantial. When I finished it nearly a year ago, I didn't review it here; I'd thought it slight in comparison to some of Fitzgerald's other novels (each of which I have loved) and just wasn't sure what to make of it. But this little "tragi-farce"--the author's word, actually--has grown on me; I've repeatedly referred back to my copy and on a recent weekend found myself reading the whole thing over again.

What resonates on each subsequent skimming or reading is the subtle, brilliant way Fitzgerald portrays the novel's tight-knit community as, fundamentally, an unorthodox family. Set in the early 1960s, the story is surprisingly autobiographical (something I didn't know when I'd first read it); Fitzgerald, too, lived on an old barge on the Thames for two years with her three children. Although her heroine, Nenna, is a decade younger than the author had been during her river years, and here there are two children rather than three, it can be disarming to understand that this truly odd assortment of characters has been transformed from real life.

At times, the two girls (as precocious as children are in all of Fitzgerald's novels) steal the show. Their quips are frequently childish and clever all at once: "I hate very old toys," retorts six-year-old Tilda. "They may have been alright for very old children." Observant and acrobatic river rats, both girls are religiously absent from school and instead get their "education" from their surroundings, exhibiting a maturity often lacking in the neighbors. Among the adults is a rentboy named Maurice, whose illicit, "professional" activities are complicated by his allowing his boat to be used for the transfer of stolen goods. Sam, an elderly painter, is trying to sell his boat and would appreciate it, thank you very much, if his neighbors wouldn't mention the leak to prospective buyers. Richard, the unofficial leader of the bunch, owns the only shipshape vessel and lives apart from his wife, who detests life on the river. Richard's situation mirrors that of Nenna, whose inept, unemployable husband also lives apart from his family and who wants her to sell the damn boat and end this bizarre display of independence: "It's not for me to come for you, it's for you to get rid of it. I'm not quarreling about money. If you don't want to sell it, why can't you rent it out?"

There is in fact a plot, and all the pieces come together, almost tragically and yet entertainingly in a madcap climax. But the real focuses of the book are the erstwhile network of friends that forms on the river and the assertion of responsibility (or, in some cases, the lack of it) by each of the main characters. This is a book that pays rereading; it's both funnier and more heartrending the second time out.
  • Vertokini
Fitzgerald's cast of characters in this Booker Prize novella are a motley group of people living in converted barges and small craft moored by the banks of the Thames, rising with the tide then sinking back into the mud. Their self-appointed chairman is a super-shipshape ex-Naval officer living on a converted minesweeper. At the other end of the scale are an aging artist and a gregarious male prostitute. Quite different from one another, they are nonetheless linked by a common suspicion of land-bound life, and by their willingness to share each other's problems. The central character, Nenna James, still longing for her absent husband, is the single mother of two precocious girls, who gain a richer education at the water's edge than in their occasional visits to school, where the nuns pray regularly for their father's return.

Page after page, this is a miraculous book, miraculous in its genial understanding of character, doubly miraculous in its powers of description. For example, the effect of the rising tide: "On every barge on the Reach a very faint ominous tap, no louder than the door of a cupboard shutting, would be followed by louder ones from every strake, timber and weatherboard, a fusillade of thunderous creaking, and even groans that seemed human. The crazy old vessels, riding high in the water without cargo, awaited their owners' return." Or the description of Stripey, the James children's mud-encrusted cat: "The ship's cat was in every way appropriate to the Reach. She habitually moved in a kind of nautical crawl, with her stomach close to the deck, as though close-furled and ready for dirty weather."

For a while, the closed community of oddball characters seems almost a set-up for an Agatha Christie mystery, and Fitzgerald's first novel, THE GOLDEN CHILD, was indeed a mystery. But her remaining eight books -- all short, all astonishingly different -- take a more subtle tack. Whether based on her own life (including OFFSHORE and her other Booker nomination, THE BOOKSHOP) or set in distant times and places (pre-Revolutionary Moscow in THE BEGINNING OF SPRING, Goethe's Germany in THE BLUE FLOWER), they all share a sense of slightly sad comedy. So it is with OFFSHORE. Miracle-worker though she is, Fitzgerald eschews the easy miracle of a neatly sewn-up ending. The reader is left to imagine a consequence in which each of these lives moves forward into a new phase, perhaps happy, perhaps less so. But the close community of the opening has broken up. Writing in 1979, Fitzgerald sets the book in 1962, during the brief flowering of "swinging London," after which everything would change. Though no more than a faint background presence, she is extraordinarily sensitive to the pathos of impermanence. And she paints these lives lived on the margins of the tides with both a smile and a tear for their inherent unstability.
  • Wen
I read this at the same time I was reading Penelope Fitzgerald's biography by Hermione Lee. It made the novel far more interesting than I might have found it reading it without that context. On its own, I'd describe it as a slim, elegant little book that in its presentation mirrors the disjointed and confused circumstances of Nenna, a woman separated from her husband, who has fallen on hard times and ended up on a leaky barge on a dank and polluted tidal river, with two children who are far more resourceful than she is. That this is based on a low point in Fitzgerald's own life is what makes it much more interesting. It is a novel and not a memoir, so I suppose one can't read too much into it, but while peopled by quirky characters and a kind of camaraderie, it sounds like it was pretty grim...an experience that couldn't really be prettied up.