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Loading... Don't Move (2002)by Margaret Mazzantini
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Non ci provare Una o due stelle, ma anche tre, a uno qualsiasi dei romanzi della Mazzantini? No dai, non ci provare! Sei sicuramente avvezzo a trastullarti con romanzetti rosa scialbi scritti coi piedi, e faresti bene a continuare su quella strada. Suvvia, questo romanzo è di una bellezza sconcertante. Eccheccacchio! How do we value a book we read? What makes us feel that this is an excellent one? Is it The story? Maybe it's the Writing? Perhaps The connection between us and the book? As far as I am concerned, the book has to touch my emotional place. There are books I admire about writing, the beauty of the idea, but I remain detached. And sometimes some books manage to touch me, and it has nothing to do with pleasure. This one was written by an Italian writer. The story is simple: a father who is a senior surgeon sits outside an operating room in his hospital, a place where his only daughter is diagnosed with a severe accident. And does what we all do while we are in a state of disaster: thinking about his life, trying to understand the logic of what is happening, feeling guilty about the choices he made. I find it hard to say that I enjoyed reading the book. There are parts in it that I really felt sick when I read them. But the book didn't allow me to stop reading it, and I still think of it sometimes. The book is compelling, requiring the reader to think about subjects he doesn't always want to think about. Recommends reading it to non-romantic people with an overly sensitive stomach. Il libro è scritto bene ma umanamente parlando mi ha lasciata alquanto perplessa ... nulla da ridire sul dolore devastante che qualsiasi genitorie proverebbe nel vedersi una figlia in fin di vita ma ... quello che non comprendo è per quale motivo narrargli un amore che non è quello per la propria madre fatto prevalentemente di fisicità ? Perplessa e vagamente amareggiata. this book is (more than) worth reading for the way it's written alone; it's somehow different than anything i've ever read before, and i just love the language. as to the rest, i'm not sure. i desperately want to understand what she was doing or saying or playing with here, but i know i'm missing it. figuring out her message was what kept me gripped almost from the get-go in this book, and i'm no less curious for having finished reading it. the title phrase is repeated throughout the book, always (if i noticed them all) at a point where the main character, timoteo, is afraid to move forward. or afraid of what is coming next in his life. afraid, maybe more truly, of who he will be in those next moments, because he can't stop time moving forward, and he has to act, often in ways that show him as a person he doesn't want to be. timo is both totally honest (is it weird that he discusses sex and his penis the way he does when he is theoretically talking to his daughter, or is it just so not american do to that?) about himself and also completely untruthful. it's in a realistic way, though, so that as he begins recognizing himself for a "monster" he makes excuses and starts to throw the blame for his behavior at the women in his life, giving himself a reprieve. he recognizes this person inside of himself and abhors him, taking this out on the women he is with. he is filled with hate and violence (that he doesn't act on often) of women, and even what he sometimes calls love or passion is wrapped up in his hatred. he denigrates every single woman he encounters (he even throws in a line or two about the awesome nurse just to stay consistent on this score). he confuses his repeated rape of a woman with a love affair. (and it certainly seems like, at least at some point down the line, she does, too. but she also discloses prior victimization, and i know the way these "relationships" work for the person who has no agency. but many readers don't, as i see this reviewed as a love story. ...so much of this book reminds me of lolita.) the last 2 lines of the book give a clue about where she was going, but it's still not entirely clear to me that i'm reading her correctly. and either way, i'm not sure what the message or point is, but i also know that reading this was an unusual experience (which i very much appreciate) and that i really, really liked the way it was written. i just wish i could talk with someone about it.... no reviews | add a review
Called to the hospital when his fifteen-year-old daughter, Angela, is injured in a potentially fatal accident, a prominent surgeon sits and waits, silently confessing the affair he had the year Angela was born. As Timoteo’s tale begins, he’s driving to the beach house where his beautiful, accomplished wife, Elsa, is waiting. Car trouble forces him to make a detour into a dingy suburb, where he meets Italia–unattractive, unpolished, working-class–who awakens a part of him he scarcely recognizes. Disenchanted with his stable life, he seizes the chance to act without consequences, and their savage first encounter spirals into an inexplicable obsession. Returning again and again to Italia’s dim hovel, he finds himself faced with a choice: a life of passion with Italia, or a life of comfort and predictability with Elsa. As Angela's life hangs in the balance, Timoteo's own life flashes before his eyes, this time seen through the lens of the one time he truly lived. No library descriptions found.
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When I hear that a book written in first-person, such as [b:The Hunger Games|2767052|The Hunger Games (The Hunger Games, #1)|Suzanne Collins|https://d.gr-assets.com/books/1358275334s/2767052.jpg|2792775], is being made into a movie, I wonder how the filmmakers are going to handle it. The story is entirely from Katniss' perspective, and she is telling it, so some of her voice and vision will inevitably get lost in film. I am willing to bet money that the adaptation of Don't Move is better than the book, because there will be less of the voice of Timoteo!
After his daughter is seriously injured in an accident, Timoteo sits outside her operating room and silently tells her of the affair he had the year before she was born. His confession begins with his car breaking down in a sketchy town, where he meets Italia - tired, poor, and unattractive. Although he has a beautiful wife and a successful career as a surgeon, Timoteo is dissatisfied. Upon meeting Italia, his frustration comes to a head and, um, he rapes her. Um, yeah. Definitely not a meet-cute. Despite this, er, questionable beginning, Timoteo becomes sexually obsessed with Italia, and she with him. He must decide whether to continue his comfortable existence with his wife or experience passion and life with Italia.
That sounds like an excellent movie. I can totally see this working as some kind of modern erotic Italian Neorealist piece. The reason I didn't enjoy the book is because I could not stand Timoteo's self-loathing narration of his brutality, selfishness, and cowardice. I guess it comes down to I would rather watch a weasel than read about a weasel.
PS - I am amused that Margaret Mazzantini dedicated this book to her husband. And then he directed and starred in the film adaptation! That's either really sweet or really twisted. ( )