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The Way We Live Now (Oxford World's…

The Way We Live Now (Oxford World's Classics) (edição: 2016)

de Anthony Trollope (Autor)

MembrosResenhasPopularidadeAvaliação médiaConversas / Menções
2,439474,517 (4.2)4 / 238
THE WAY WE LIVE NOW (1875) by Anthony Trollope is possibly his most influential novel, a satire, and a biting exposé of the financially interconnected British Victorian society. The arrival to London of the mysterious Augustus Melmotte who offers brilliant opportunities for financial investments affects a varied cast of personages, and upturns their lives, loves, and relationships.… (mais)
Título:The Way We Live Now (Oxford World's Classics)
Autores:Anthony Trollope (Autor)
Informação:Oxford University Press (2016), Edition: 2, 896 pages
Coleções:Sua biblioteca, Para ler

Detalhes da Obra

The Way We Live Now de Anthony Trollope

  1. 00
    Vanity Fair de William Makepeace Thackeray (morryb)
  2. 00
    The Portrait of a Lady de Henry James (Crypto-Willobie)
  3. 00
    Money de Émile Zola (littlegreycloud)
    littlegreycloud: Augustus Melmotte, Aristide Saccard, Bernie Madoff: plus ça change...

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Mostrando 1-5 de 47 (seguinte | mostrar todas)
A nostaligic read due to how many Victorian novels I read in my teens — it felt great to simplistically follow the author's direction in which characters to like and dislike (and to like and dislike with such passion -- looking to you Felix!) A very fun read.
  booms | Mar 16, 2021 |
In The Way We Live Now, author Anthony Trollope provides a sweeping and skewering look at the social and economic conditions prevailing in mid-Victorian era England. Intended as a scathing satire of the financial markets, the literary and journalism establishment, class divisions, gender restrictions and stereotypes, and the political system, the novel focuses on Augustus Melmotte, an investor and businessman recently arrived in London with a shady past and grand schemes to get rich quickly by building an American railroad. While most of the other characters in the story, both the noble and the low-born, do not understand the source of his power, they all to varying degrees fall under the sway of The Great Financier. Of course, very few of these sycophantic and trusting souls remain unscathed when the myriad arrangements do not quite work out as planned.

Although the main plot of the novel is easy enough to describe, working one’s way this massive tome is another thing altogether. Written in 100 chapters, this was one of the last novels from that time period to be released in serialized form, with twenty monthly installments in this case. (In fact, the serialization apparently sold very poorly and the entire novel was released before the installments were finished.) That is an important thing to understand because the full novel runs between 700-800 pages—depending on the edition—which is substantially longer than necessary to tell the tale. Indeed, despite the presence of myriad subplots involving the secondary characters, as well as the author’s occasional philosophical musings, this is a book that could have easily been 300 pages shorter had it been intended as a self-contained novel in the first place.

Which is not to say that the novel is without its own unique charms. Trollope was an insightful and playful critic of what he saw as the excesses and follies of British Victorian society and he has produced a volume that ably chronicles those issues. He is particularly delightful when dissecting the foolishness of the class system that existed at the time and, if he was still alive today, he might be even regarded by some as a feminist. Beyond that, though, I am not sure he really breaks much new ground here relative to William Makepeace Thackeray’s Vanity Fair, which was published more than a quarter-century earlier. Also, the plot device involving Melmotte’s financial schemes stretched credulity, even for a satirical novel. So, while I cannot say I am sorry to have read this voluminous work, I am not sure the payoff fully justified the effort. ( )
1 vote browner56 | Jan 12, 2021 |
I can't remember who it was, but I want to thank whichever of my Goodreads friends unknowingly alerted me to Anthony Trollope, an author I have somehow missed all these years, by mentioning him in very glowing terms.

The Way We Live Now is an epic novel describing a year in the life of a huge cast of characters in Victorian London and its environs. At the heart of the action is a great financial scheme, but it's really about so much more than that.

Laura Miller, writing for Slate Book review, said this, which exactly sums up how I felt reading: His novels amount to a compendium of every recurring pattern of human behavior as observed by a wise, amused, and tenderly exacting deity. He sees all our little self-delusions and vanities, but he loves us just the same. In fact, sometime they make him love us more.

I will add this to the list of best books I've ever read. I can't wait to read more by Trollope. ( )
  AngeH | Jan 2, 2020 |
Before I fell in love with Trollope I couldn’t have told you a great deal about his books, but I would have told you that I understood ‘The Way We Live Now’ to be his biggest, his greatest, his most enduring work. Now that I’ve read it I can’t disagree with my earlier evaluation. I found the Trollope I loved, but I found that his tone was darker, and a little more cynical, that I had ever found it before.

I discovered that this book began as a satire, when Trollope returned to London after a year and a half in Australia, and was horrified to find how much in society had changed for the worst. And I believe that is reflected in this wonderful human drama.

The book opens with Lady Carbury dashing off letters to the editors of the London papers to try to secure the reviews that she knew she needed to make her newly published book, ‘Criminal Queens’, a success. She knew that it was not a very good book, but she was a widow with two children she wanted to marry well and had no illusions of being a great author; she was simply trying to bring in the money that was needed to keep her household afloat.

Trollope described her as ‘false from head to foot’, but I liked her. She put on a front, she was determined to keep up appearances, and she did her level best even when it seemed her children were set on making things difficult for her.

The satire here is glorious. I’ve read different suggestions of who might have inspired Lady Carbury’s character – including Frances Trollope, the author’s mother, and Mrs Oliphant – but much of what I read left me inclined to think that Trollope’s principal target was himself.

Lady Carbury’s greatest desire was to marry her son off to an heiress. But he, Sir Felix Carbury, was a hopeless wastrel, oblivious to his family’s situation, with a lifestyle centred around drinking and gambling his London club, the Beargarden, with other, like-minded young men. His mother was oblivious to his failings, and she and he had their sights on Miss Marie Melmotte, only daughter of financier Augustus Melmotte, recently established in London and swiftly rising through society.

But Melmotte had other plans for his daughter. He wanted her to marry well, to take a place in the upper echelons of society. He had in mind Lord Nidderdale, who could offer a title and a country estate, but would need a handsome dowry to keep that estate afloat. It was while the men were arguing terms that Marie, who had firm opinions of her own and was determined to chose her own husband, fell in love with the charming, attentive Sir Felix Carbury. Her father was appalled, but she was determined. It would be Felix who wavered, as he realised that Melmotte was quite capable of following through his threat of disinheriting his daughter if she did not follow his wishes.

Lady Carbury was less concerned about her daughter, Hetta; her son was clearly her favourite. But she was determined that she should marry her cousin, Roger Carbury, who loved her dearly, who had inherited the family estates but not the family title. Hetta was fond of him, but she had given her hear to Roger’s younger friend and protege, Paul Montague.

That was this book’s classic Trollopian love triangle; and I really couldn’t see a resolution this time. Because, though Paul loved Hetta as much as he loved her, he had made promises to an American widow, Mrs. Hurtle, and she had come to London to make sure that he kept those promises.

The emotional arc of this part of the book, and the many twists and turns, were wonderful. I had mixed emotions about the way this story played out, with acceptance on one side and heart-break on another, but I loved the journey to its conclusion.

These are the principal strands of the story, but there is a great deal more to consider.

The Longstaffe family entered a financial arrangement with the Melmottes; leasing their London home to shore up their precarious finances. Their daughter, desperate to secure a husband, saw that as a major setback, and she took drastic action with catastrophic results. She was selfish she was insensitive; but I understood her fears and what drove her and so I felt for her, even as she infuriated me.

Ruby Ruggles, the granddaughter of a tenant farmer on the Carbury estate, had caught the eye of Sir Felix; that led her to run away to London, to escape her grandfather’s beatings and the attentions of a good – but to her mind dull – suitor. She was taken in by her aunt, who also Mrs. Hurtle’s landlady.

Ruby’s story was not my favourite. It was clearly there as the ‘comic relief’ and it seemed a little detached from the other storylines. Though I appreciated that it made serious points, that it played a part in allowing characters whose paths might not otherwise have crossed to meet, and that it had to be there to allow the book to work as a whole.

I particularly appreciated that Ruby’s story brought Mrs Hurtle to the fore. Mrs Hurtle was a wonderful character; her past was dubious, but she had gained wisdom from her experiences; her spirit was strong and her heart was true.

But this book really belongs to the darkly charismatic Augustus Melmotte. The stories of his manoeuvres through the artistocratic society that doesn’t approve of his kind but is drawn to his wealth and power, the society that he knows he needs but can’t quite understand are darkly satirical and utterly compelling. The stories of his shady investments and financial skulduggery are less engaging, but they drive the plot forward.

And of course he is involved in almost all of the drama. There’s an elopement, there’s the election of a new member of parliament, and there’s even a visit from the Emperor of China.

Trollope created a monster, but he gave him such charisma, that after his dramatic downfall and his exit from the stage, my sense of loss was tangible.

The way he made a multitude of plots and a wealth of details work together was masterful. The cast of characters was fabulous, all utterly believable, real, fallible complex human beings. Some I liked, some I didn’t, but I could see that they were all the products of their lives and circumstances, and I couldn’t doubt for a moment that they had lives before and after this book.

The women were stronger and more distinctive than the men. I saw some echoes of the Pallisers in some of the men here, and in the stories of parliament and the press; no more than echoes though, and the stories here were different and the characters were a degree or two deeper and darker.

Trollope takes his time winding up the story, setting each character who remained on the stage on the right path to their future. Lady Carbury’s was particularly lovely, and I would so love to read more chapters and find out what happened next to Miss Melmotte and Mrs Hurtle.

I can stand by my initial evaluation of this book; and I can also say that I loved it, and that I think Trollope did what he set out to do with this book very well indeed. ( )
2 vote BeyondEdenRock | Nov 4, 2019 |
There were no doubt gentlemen of different degrees, but the English gentleman of gentlemen was he who had land, and family title-deeds, and an old family place, and family portraits, and family embarrassments, and a family absence of any useful employment.

The more things change, the more they stay the same. Americans especially, after the 2016 election, may be tempted to mutter this saying over and over as they follow the machinations of Augustus Melmotte, the Great Financier in this satire of London life in Victorian times.

When Melmotte comes to London, he makes himself known as a wealthy man. His business deals and investment opportunities are the talk of the town, and serve as a magnet for London aristocracy. Invitations to his parties are hotly sought after. For Melmotte has a daughter of marrying age, and money and marriage-making take up a good deal of energy in Victorian London. Settling on the right match is good for the whole family in upper-class society!

There is a large cast of interesting characters and situations. (There's lots of settling to do!) The writing is so detailed that each character's state of mind in each scene is examined facet by facet, turning over every possible point of view. Yet to its credit, even though it took weeks to get through this long book, I still remembered over time the threads of the complex, and in some ways, fast-moving plot. It felt like a book to savor. And I did!

( )
  steller0707 | Aug 25, 2019 |
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Nome do autorFunçãoTipo de autorObra?Status
Anthony Trollopeautor principaltodas as ediçõescalculado
Brooks, DavidIntroduçãoautor secundárioalgumas ediçõesconfirmado
Case, DavidNarradorautor secundárioalgumas ediçõesconfirmado
Osborne, HughNotesautor secundárioalgumas ediçõesconfirmado
Sutherland, JohnEditorautor secundárioalgumas ediçõesconfirmado
West, TimothyNarradorautor secundárioalgumas ediçõesconfirmado
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Let the reader be introduced to Lady Carbury, upon whose character and doings much will depend of whatever interest these pages may have, as she sits at her writing-table in her own room in her own house in Welbeck Street.
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In the City Mr. Melmotte's name was worth any money,-though his character was perhaps worth but little.
As for Felix,—he had grovelled in the gutters as to be dirt all over. Nothing short of the prolonged sufferings of half a life could cleanse him.
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THE WAY WE LIVE NOW (1875) by Anthony Trollope is possibly his most influential novel, a satire, and a biting exposé of the financially interconnected British Victorian society. The arrival to London of the mysterious Augustus Melmotte who offers brilliant opportunities for financial investments affects a varied cast of personages, and upturns their lives, loves, and relationships.

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