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Klara and the sun de Kazuo Ishiguro

Klara and the sun (original: 2021; edição: 2021)

de Kazuo Ishiguro

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7634821,641 (4.04)38
Título:Klara and the sun
Autores:Kazuo Ishiguro
Informação:London : Faber & Faber, 2021.
Etiquetas:Fiction, C21, C20

Detalhes da Obra

Klara and the Sun de Kazuo Ishiguro (2021)

Adicionado recentemente porLukeS, lcd, snail49, lelapin7, biblioteca privada, Arina42, justimattus, akerr
  1. 10
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  2. 11
    Never Let Me Go de Kazuo Ishiguro (JGoto)
    JGoto: Style and themes are similar in both of these novels by Ishigura.

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Mostrando 1-5 de 43 (seguinte | mostrar todas)
Nobel Prize winner Kazuo Ishiguro treats us lucky readers to yet another take on a dystopian future in Klara and the Sun. And once again, as in Never Let Me Go (2005) he approaches his subject obliquely. He withholds details of world events and resulting dislocations, giving only quick, almost throwaway indications here and there. The main indicator is that Klara, the first-person narrator of the title, is an AF, or Artificial Friend, a very life-like robot blessed with an AI-like ability to learn. But more to the point, Klara can provide companionship to humans. This is a haunting, understated read, the kind we have come to expect from Ishiguro. It is also a brilliant, accomplished fiction, which again, is no surprise, given the author.

Klara’s story leads off with her experience at the store, where she is available for sale to a discriminating teen. In Klara’s case the discriminating teen is Josie, a youngster dealing with an unnamed illness. In these early pages we also learn of Klara’s unusual cognitive abilities: she observes keenly, and from what she sees, makes nuanced and surprisingly sophisticated conclusions about human behavior and desire. In fact, Klara’s narrative reflects her unusual intellect and ranks as one of Ishiguro’s great achievements here.

I came to treasure Klara’s insightful storytelling, and her polite conversation. It’s the slightest bit stilted, coming from a machine, but clearly reflects Klara’s ability to observe, reason, and advise. Putting Klara in the first person is a bold stroke for Ishiguro, and yet it comes across as the only way to present this story. Teenagers are a mystery, and would make unreliable narrators: at some point parents have to decide whether to “lift” their pubescent young, a procedure which alters their genes and marks out the child as privileged—eligible for university training and a professional career—but also carries vague risks. These risks threaten Josie, and her illness lies at the root of the decision to buy Klara.

Humans occupy a central place in Ishiguro’s bleak future: addle-pated, lonely, crushed by circumstance, they struggle with the world they have made. They form up into warring clans again, harkening back a thousand years into a violent past; they try to fix things for themselves by buying artificial companions for their despairing children; they grasp and grapple in a world obviously resisting any kind of sense or control. Of course Klara had to tell this story. In the author’s world, we could depend on no one else.

I felt this to be somewhat a companion-piece to Never Let Me Go. Its future is just as bleak, and the unfeeling, murderous, greedy, and exclusionary solutions people find to correct their own incompetence are almost as horrifying. As two separate treatments of current trends in the world, these two books are as chilling as they are masterful. Take up Klara and learn!

https://bassoprofundo1.blogspot.com/2021/05/nobel-prize-winner-kazuo-ishiguro.ht... ( )
  LukeS | May 18, 2021 |
Two stars is a stretch. Like many other two-star readers, I loved [b:The Remains of the Day|28921|The Remains of the Day|Kazuo Ishiguro|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327128714l/28921._SY75_.jpg|3333111]. I loved [b:The Unconsoled|40117|The Unconsoled|Kazuo Ishiguro|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1342193138l/40117._SY75_.jpg|6372970]. I really loved [b:Never Let Me Go|6334|Never Let Me Go|Kazuo Ishiguro|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1353048590l/6334._SY75_.jpg|1499998]. Then... I was bitterly disappointed by [b:The Buried Giant|22522805|The Buried Giant|Kazuo Ishiguro|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1451444392l/22522805._SX50_.jpg|41115424] - I struggled to get 75 pages, and gave up.

I DID finish Klara. I'd be sad to think Ishiguro has peaked and it's downhill from there. Unreliable or misleading narrators are rather a specialty of his, and Klara is certainly one of those. Normally, readers figure out what is "really" going on when the narrator either does not know or hides it. In this case, Klara knows or understands some things ("lifting") that we do not, and does not understand a lot of things we do (road construction...). And I still haven't gotten the "partitions" and "boxes" she keeps talking about. I think Ishiguro's attempt to see and describe everything from Klara's limited point of view - as special and perceptive as she is supposed to be, for an Artificial Friend - ends up a trap. He doesn't make the other characters vivid or dimensional enough for US to understand or care about them any more than Klara does. The doomed romance between Josie and her next-door boyfriend just ends, and no one (including them) cares. Conversations - as reported by Klara - are stilted and wooden, which may be how she perceives them, but they leave us with nothing to connect to. Quirks and characterizations are also odd and inconsistent: Klara's habit of addressing people in the third person comes and goes, with no apparent meaning attached to the changes; the Father's tic of calling his daughter "animal" (rather like Axl's calling his wife "Princess" in every other sentence in Buried Giant) is forced and feels contrived (to contrast with her artificially-enhanced humanness?).

There seem to be ideas and intentions here, and Ishiguro seems to want to explore serious ethical issues, including awful decisions and tragic consequences. Perhaps he is trying to make a point about the devolution of humanity, the dire risks of technology, *and* that fact that no one seems to care about these things. Perhaps he is asking the question: are these humans any better or different from the AF's, and suggesting that perhaps they aren't - or, maybe, that the AF's are actually better, or are evolving to some kind of miraculous powers of their own? Klara's out-of-character mystical bond with the sun leads to a rather banal deus ex machina resolution of Josie's illness (and apparently, all her other issues). He just can't quite evoke enough emotion to touch us, to make us interested, to make it more than a sort of abstract exercise. One that didn't turn out very well. ( )
  JulieStielstra | May 17, 2021 |
Really good premise, loved Klara as a character. The book touched on some AI issues and possible futuristic society differences but I would’ve loved for a tad more drama, it was a bit bland even though the concept was fantastic. ( )
  Annievdm | May 17, 2021 |
Who couldn’t use an “artificial friend” (AF) every now and then? The author masterfully spins an intriguing yarn that inspires readers to explore new perspectives. Ishiguro has written a beautiful work that is innovatively crafted. My tolerance for sci-fi tales is generally low, but the author creates such a fascinating dynamic between Klara and her assigned human that it triggered thought-provoking moments and raised some important questions about society. The final leg of this bizarre journey did seem to drag a tad, but I would highly recommend “Klara and the Sun.” ( )
  brianinbuffalo | May 12, 2021 |
A beautifully written book, with a narrator that evenly balances a sense of humanity and an alien quality.
  Unreachableshelf | May 9, 2021 |
Mostrando 1-5 de 43 (seguinte | mostrar todas)
Most of Ishiguro’s novels are slender books that are more complicated than they at first seem; Klara and the Sun is by contrast more simple than it seems, less novel than parable. Though much is familiar here—the restrained language, the under-stated first-person narration—the new book is much more overt than its predecessors about its concerns.... Ishiguro is unsentimental—indeed, one of the prevailing criticisms of him is that he’s too cold, his novels overly designed, his language detached. (Some of the worst writing on Ishiguro ascribes this to his being Japanese, overlooking that he’s lived in England since he was a small child.) In most hands, this business of the mother-figure who sacrifices all for a child would be mawkish. Here it barely seems like metaphor. Every parent has at times felt like an automaton. Every parent has pleaded with some deity for the safety of their child. Every parent is aware of their own, inevitable obsolescence. And no child can offer more than Josie’s glib goodbye, though perhaps Ishiguro wants to; the book is dedicated to his mother.
adicionado por Lemeritus | editarThe New Republic, Rumaan Alam (Apr 11, 2021)
It explores many of the subjects that fill our news feeds, from artificial intelligence to meritocracy. Yet its real political power lies not in these topical references but in its quietly eviscerating treatment of love. Through Klara, Josie, and Chrissie, Ishiguro shows how care is often intertwined with exploitation, how love is often grounded in selfishness ... this book focuses on those we exploit primarily for emotional labor and care work—a timely commentary during a pandemic in which the essential workers who care for us are too often treated as disposable ... If Never Let Me Go demonstrates how easily we can exploit those we never have to see, Klara and the Sun shows how easily we can exploit even those we claim to love ... a story as much about our own world as about any imagined future, and it reminds us that violence and dehumanization can also come wrapped in the guise of love.
adicionado por Lemeritus | editarThe Nation, Katie Fitzpatrick (Mar 24, 2021)
... the real power of this novel: Ishiguro’s ability to embrace a whole web of moral concerns about how we navigate technological advancements, environmental degradation and economic challenges even while dealing with the unalterable fact that we still die.... tales of sensitive robots determined to help us survive our self-destructive impulses are not unknown in the canon of science fiction. But Ishiguro brings to this poignant subgenre a uniquely elegant style and flawless control of dramatic pacing. In his telling, Klara’s self-abnegation feels both ennobling and tragic.
adicionado por Lemeritus | editarThe Washington Post, Ron Charles (Mar 2, 2021)
Critics often note Ishiguro’s use of dramatic irony, which allows readers to know more than his characters do. And it can seem as if his narrators fail to grasp the enormity of the injustices whose details they so meticulously describe. But I don’t believe that his characters suffer from limited consciousness. I think they have dignity. Confronted by a complete indifference to their humanity, they choose stoicism over complaint. We think we grieve for them more than they grieve for themselves, but more heartbreaking is the possibility that they’re not sure we differ enough from their overlords to understand their true sorrow. And maybe we don’t, and maybe we can’t. Maybe that’s the real irony, the way Ishiguro sticks in the shiv.... In Klara and the Sun, Ishiguro leaves us suspended over a rift in the presumptive order of things. Whose consciousness is limited, ours or a machine’s? Whose love is more true? If we ever do give robots the power to feel the beauty and anguish of the world we bring them into, will they murder us for it or lead us toward the light?
adicionado por Lemeritus | editarThe Atlantic, Judith Shulevitz (Mar 2, 2021)
Ishiguro, like Nabokov, enjoys using unreliable narrators to filter—which is to say, estrange—the world unreliably...Often, these narrators function like people who have emigrated from the known world, like the clone Kathy, in “Never Let Me Go,” or like immigrants to their own world.... These speakers are often concealing or repressing something unpleasant...They misread the world because reading it “properly” is too painful. The blandness of Ishiguro’s narrators is the very rhetoric of their estrangement; blandness is the evasive truce that repression has made with the truth. And we, in turn, are first lulled, then provoked, and then estranged by this sedated equilibrium.... What sense can an artificial intelligence make of death? For that matter, what sense can human intelligence make of death? ... “Klara and the Sun” continues this meditation, powerfully and affectingly. Ishiguro uses his inhuman, all too human narrators to gaze upon the theological heft of our lives, and to call its bluff.
adicionado por Lemeritus | editarThe New Yorker, James Wood (Feb 28, 2021)
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