It's miraculous that at the end of a century of two world wars, a Holocaust, a postmodern cold war, that "trauma fiction" was only coined in the 's. Trauma is fascinating, whether it's sexual, verbal, physical, or another form. It could be described as a force that captures all parts of an individual.
One side has given him a rapturous reception: Dissenters dismiss him as an adolescent chatterbox, all artifice and no substance, all cuteness and no grit. I would have preferred not to take sides. If this brief synopsis already makes you feel somewhat queasy, the entire book is likely to make you very ill indeed.
Thus a painfully serious topic is given a whimsical spin in order to make a painfully serious point: Is there anything truly contentious about logorrhoea from the mouths of babes?
They are constructed not from fleshly materials but from embroidered scraps of language, poetic notions, allegorical conceits. In Everything Is Illuminated, Foer invented a vanished Ukrainian shtetl peopled by wondrous eccentrics.
The year-old journalist upstairs is deaf, and reduces all 20th-century history to single-word filing cards. And so on and so on. As good as A Clockwork Orange? For many readers, these events are so potent that any fiction dealing with them automatically swells with poignancy.
Other readers take offence, insisting that authors must earn the "right" to appropriate these subjects.
Foer, a fresh-faced youngster, is an easy target for such purists, but it should be remembered that WG Sebald, lauded for his deep insight into the second world war, likewise experienced none of the atrocities he chronicled.
In this he is as sincere and committed as he needs to be. It is a triumph of evasion, enhanced with dozens of otiose photographs, rainbow colours and typographical devices, whose net effect is to distract the reader and Foer from harsh truths.
It promises to take you to Ground Zero, but helplessly detours towards the Land of Oz, spending most of its time journeying through the Neverlands in between. But then, Foer was never meant to be at the centre of controversy; seldom has an author been so besotted with "pure" art.
This book is aimed at readers who find such images deeply touching. As indeed they can be, in the right context. Fairytales have great power, notwithstanding their artificiality. Everything Is Illuminated contained bits of lovely writing and moments of eerie pathos.Foer's second novel Extremely Loud & Incredibly Close, was published in In it, Foer used 9/11 as a backdrop for the story of 9-year-old Oskar Schell, who learns how to deal with the death of his father in the World Trade Center.
The novel used writing techniques known as visual writing. Jonathan Safran Foer is the author of two bestselling, award-winning novels, Everything Is Illuminated and Extremely Loud and Incredibly Close, and a bestselling work of nonfiction, Eating Animals. He lives in Brooklyn, New York.4/5.
Jonathan Safran Foer has written a novel for our times, a story so deeply affecting and wise that it has to potential to have an impact far beyond that of most novels.
Extremely Loud and Incredibly Close is a collage about the world we live in: its terrorism, its beauty, its love, its mysteries, its absurdities, its people/5(8). quotes from Extremely Loud and Incredibly Close: ‘Sometimes I can hear my bones straining under the weight of all the lives I'm not living.’ ― Jonathan Safran Foer, Extremely Loud and Incredibly Close.
tags: life. likes. “We had everything to say to each other, but no ways to say it” ― Jonathan Safran Foer. Based on the novel by Jonathan Safran Foer, Extremely Loud & Incredibly Close tells the story of Oskar Schell (newcomer Thomas Horn), a thoughtful, autistic nine-year-old whose best friend in.
by Jonathan Safran Foer pp, Hamish Hamilton, £ Just as the September 11 attack on the World Trade Center instantly epitomised the clash between Islamic fundamentalism and capitalist hubris, the writing of Jonathan Safran Foer has divided readers into vehemently opposed factions.