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Ravelstein (Penguin Modern Classics) de Saul…
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Ravelstein (Penguin Modern Classics) (edição: 2008)

de Saul Bellow

MembrosResenhasPopularidadeAvaliação médiaMenções
1,7011510,149 (3.47)54
"Abe Ravelstein is a brilliant professor at a prominent midwestern university and a man who glories in training the movers and shakers of the political world. He has lived grandly and ferociously - and much beyond his means. His close friend Chick has suggested that he put forth a book of his convictions about the ideas which sustain humankind, or kill it, and much to Ravelstein's surprise he does and becomes a millionaire. Ravelstein suggests in turn that Chick write a memoir or life of him, and during the course of a celebratory trip to Paris the two share thoughts on mortality, philosophy and history, loves and friends, old and new, and vaudeville routines from the remote past. The mood turns more somber once they have returned to the Midwest and Ravelstein succumbs to AIDS, and as Chick himself nearly dies."--Jacket.… (mais)
Membro:Sead
Título:Ravelstein (Penguin Modern Classics)
Autores:Saul Bellow
Informação:Penguin Classics (2008), Paperback, 240 pages
Coleções:Sua biblioteca
Avaliação:***1/2
Etiquetas:Literature, total books read, total serious books read, owned

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Ravelstein de Saul Bellow

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Mostrando 1-5 de 15 (seguinte | mostrar todas)
The overwhelming consensus appears to be that Bellow knows very much. In fact, he gives the impression of knowing very little.

Bellow understands very little about allusion. With respect to his use of copious references, the problem is not their esoteric quality, rather that they aren't references at all. When Bellow mentions a stoic philosopher, a brief quotation, or a turn of phrase in French, one must understand that these references are skin-deep. There is nothing being signified beyond the phrase itself. I know this is correct because an actual understanding of the referred object does not enhance the text. When Bellow wants us to know more, he bores us with an explicit (insulting) explanation. This is best exemplified in the multi-paragraph summary of the The Symposium. If Bellow expected anything at all from the reader (and if he were actually using references to communicate real ideas), a single sentence would have been enough. When Bellow mentions a brand of suit, or speaker, or kitchenware, we aren't even meant to know what this sort of thing conveys. What he is actually trying to communicate is the implication that the brand is expensive or that Ravelstein (the character) is particular in his tastes. That is, nothing of particular interest.

Bellow understands very little about human relations. Take, for instance, the character representing his ex-wife, Vela, who is a 'chaos scientist.' (not a very subtle metaphor...) Vela and Ravelstein have a falling-out because, among other things, R. violates her privacy. R. then justifies himself with the following,
“As for Vela, he judged her even more severely. ‘Maybe I shouldn’t have rushed into the bedroom.’ He granted that, but added, ‘There wasn’t all that much to be seen. Anyway, I wasn’t interested. She was far from exposed. She had on her slip, and all kinds of other stuff under that. So what’s all the hue and cry?’”
Even in 2001, this would have been a bit on-the-nose and doesn't mean what Bellow intends. (Not to mention Ravelstein's description of Michael Jackson as a "glamour monkey" or his praise of black servicemen as "well-spoken.") Vela is cold, standoffish, and is always working on Chaos Science. She doesn't emerge into a real person from the collection of eccentricities, and it is here in which we see the negative of Bellow's actual relationship. It doesn’t take a particularly astute reader to recognize the cry, “What could she mean, that Chaos Scientist?” as the intellectual impotence which prevents understanding in human relations. (Side Note: Bellow spends a portion of the novel discussing his relationship with Grielescu, who likely was a Nazi during the War. Eventually, Bellow is put-off by G.'s interest in Jung and mythology, which he interprets as a proxy for anti-antisemitism. He never considers the implication of the more disturbing fact that G.'s Nazi ideology is entirely soluble in a discussion of the Classics which Bellow so enjoys.)

Bellow understands very little about the importance small detail. Bellow’s stumbling, off-the-cuff descriptions remind me of Perec’s brilliance by their lack. For Bellow only the signifier exists. The brand name is enough to communicate the Object. To him, small off-hand details are matters of complete indifference. Take, for instance, the following phrase which he uses to conclude a lengthy description of Ravelstein,
“...two long arms hanging over the sides of his chair and the strange shapes of his mismatched feet. One was three sizes bigger than the other.”
The detail about the mismatched feet is impossible not to have mentioned earlier. I wonder if Bellow has ever seen the things he describes, considering such a drastic, surreal impression this would have made on anyone witnessing this deformity (something so bizarre it borders on the absurd). Though this is quibbling over small beans, it represents how Bellow has taken one of the few possible refuges in his work (pure delight in prose) and left it barren.

Maybe I'm being too harsh. ( )
  Joe.Olipo | Nov 26, 2022 |
Well-written but a little too narrow. ( )
  Kate.Koeze | Apr 15, 2022 |
Initially I thought this was a book with a limited appeal, mainly concerned with intellectual ideas but it broadened out into a colourful picture of an individual (based on Allan Bloom) in the shadow of mortality. I admired aspects of The Closing of The American Mind so I was sympathetic to him but less admirable was his lavish lifestyle and vanity. But he was a complex man and Bellow shows him as a charismatic personality who drew acolytes aswell as enemies. Along with the heavy-hitting philosophy there's plenty of gossip and probably contentious views on figures like Radu Grielescu and his anti-Semitic past (based on Mircea Eliade). Based on this I'd read more Bellow. His mixture of the 'high and 'low' culture is appealing though initially it felt like he was throwing the 'common reader' a bone. ( )
  Kevinred | Oct 8, 2021 |
En la vida de Saul Bellow su relación con el filósofo Allan Bloom fue decisiva. Tanto que en esta novela Bloom se convierte en Abe Ravelstein, un brillante profesor universitario que, gracias al éxito de su revolucionario libro, se convierte en un intelectual millonario. Pasión y conocimiento se unen en esta deslumbrante narración.
En el Hotel Crillon de París, Abe Ravelstein y su amigo Chick celebran, entre lujos y excentricidades, el éxito del revolucionario libro del primero. Tras años como brillante profesor universitario, con un salario que no le permitía alcanzar la vida hedonista y fastuosa que tanto deseaba, Ravelstein se ha convertido por fin en un intelectual millonario. Así se inicia la travesía por las emociones y las ideas de estos dos fascinantes personajes, que recorren en sus valientes conversaciones temas como el amor, la historia, la política y el humor.
  ArchivoPietro | Oct 24, 2020 |
When it was published critics called it one of Bellow's "minor" books. I disagree. It's softer and subtler than Augie March or Henderson the Rain King, but the narrative exuberance here is unsurpassed even by Bellow himself in earlier decades. Because the book is at its heart the story of friendship between two men who loved one another, Bellow's inability to write about women except in a misogynistic way is a minor flaw in this particular book, one that barely registered for me here, even though the same flaw made Herzog impossible going for me. Ok, I can do without women flaunting their pudenda in their ex-husband's faces as a mean way of saying goodbye, a scene that happens in Ravelstein, and in at least one other Bellow book. Augie March, I think. But even so. While reading Ravelstein I could forgive these trespasses, because I was swept along by the life force of these two main characters, Chick and Ravelstein. I was captivated by the depth of their friendship, and I was moved by this clear-headed, thoughtful, beautiful exploration of their own mortality as it played out in these pages. Only Henderson the Rain King came close for me to Ravelstein's moving and deep a portrayal of friendship and mortality. ( )
1 vote poingu | Jan 29, 2015 |
Mostrando 1-5 de 15 (seguinte | mostrar todas)
"Ravelstein" ist ein Roman von Saul Bellow, der das Leben von Allan Bloom, einem realen Philosophen und Autor von "The Closing of the American Mind", fiktionalisiert. Erzählt wird der Roman von Chick, einem engen Freund von Ravelstein, einer Figur, die auf Bloom basiert.

Die Geschichte dreht sich um die komplexe Beziehung zwischen Chick und Ravelstein und behandelt Themen wie Freundschaft, Sterblichkeit und das Streben nach intellektueller und persönlicher Erfüllung. Ravelstein, ein charismatischer und einflussreicher Professor, wird wohlhabend und berühmt, doch sein Gesundheitszustand verschlechtert sich. Chick denkt über ihre Freundschaft, Ravelsteins Ideen und die Auswirkungen des Erfolgs auf das eigene Leben nach.

Der Roman befasst sich mit philosophischen und existenziellen Fragen, untersucht das Wesen des Glücks, die Folgen des Erfolgs und die Unausweichlichkeit des Todes. Bellows "Ravelstein" ist eine Reflexion über das intellektuelle Leben, die Freundschaft und die conditio humana, die von realen Ereignissen und Menschen aus dem Leben des Autors inspiriert wurde.
adicionado por Peter_MacTroy | editarLove Books Review (2023)
 
American English departments have proven themselves unworthy stewards of what is noble in human nature, in the great public.
 
Das Entstehen dieses Romans kann man (je nach Blickwinkel) aus moralischen Gründen ablehnen oder begrüßen, doch für den Leser steht letztlich der Text als künstlerisches Produkt im Vordergrund; auch die Frage, wie stark sich Fakten und Fiktion mischen, hat nur nachrangige Bedeutung. Es dreht sich um zwei befreundete Intellektuelle - einen Philosophieprofessor namens Ravelstein und den Schriftsteller Chick. Beide verbindet ein starker Mitteilungsdrang. Sie philosophieren über Gott und die Welt, aber dies geschieht bei Bellow - trotz des betont intellektuellen Vokabulars - in einer oberflächlichen Art, die an Tresengespräche über Fußball, Wetter oder Urlaub erinnert....

Dem eigentlichen Thema, Ravelsteins tödlicher verlaufender Aids-Erkrankung, weicht Bellow aus. Mehr als vage Andeutungen erlaubt sich der angeblich so weltoffene Autor nicht, und Einblicke in die Psyche des dahinsiechenden Freundes sind äußerst rar. Stattdessen begegnen wir allerlei (und zumeist schon bekannten) biografischen Marginalien aus Bellows bewegter Vita, die mal mehr und mal weniger getarnt in die Handlung eingeflochten werden. Bellows Roman liest sich wie eine missglückte, moderne Form von "Narziß und Goldmund": Chick als ratiogesteuerter Narziß und Bloom als lebensfroher, den Sinnenfreuden zugewandter Goldmund.
adicionado por Indy133 | editarliteraturkritik.de, Peter Mohr (Dec 1, 2000)
 

» Adicionar outros autores (5 possíveis)

Nome do autorFunçãoTipo de autorObra?Status
Saul Bellowautor principaltodas as ediçõescalculado
Jonkers, RonaldTradutorautor secundárioalgumas ediçõesconfirmado
Shteyngart, GaryIntroduçãoautor secundárioalgumas ediçõesconfirmado
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Presto la vita sarebbe tornata, e io avrei preso posto sul treno della vita. La morte si sarebbe rincantucciata dov'era prima, ai bordi del paesaggio. Il desiderio del paziente è di tornare - strisciando, zoppicando o arrangiandosi in tutti i modi - alla vita che precedeva la malattia, e di trincerarsi e fortificarsi nella vecchia posizione.
Ravelstein era un educatore. Non si presentava mai come un filosofo: i professori di filosofia non sono dei filosofi. Aveva una preparazione filosofica e aveva imparato come la vita dovrebbe essere vissuta. Di questo si occupava la filosofia, e questo era il motivo per cui si leggeva Platone. Se avesse dovuto scegliere tra Atene e Gerusalemme, le due fonti principali di vita superiore, avrebbe scelto Atene, pur con tutto il rispetto per Gerusalemme. Ma negli ultimi giorni era degli ebrei che voleva parlare, non dei greci.
Ho sempre avuto un debole per le note a piè di pagina. Più di un testo , secondo me, è stato riscattato da un 'intelligente o perfida nota a piè di pagine.
Per avvicinarsi a un uomo come Ravelstein il metodo migliore forse è farlo a spizzichi.
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"Abe Ravelstein is a brilliant professor at a prominent midwestern university and a man who glories in training the movers and shakers of the political world. He has lived grandly and ferociously - and much beyond his means. His close friend Chick has suggested that he put forth a book of his convictions about the ideas which sustain humankind, or kill it, and much to Ravelstein's surprise he does and becomes a millionaire. Ravelstein suggests in turn that Chick write a memoir or life of him, and during the course of a celebratory trip to Paris the two share thoughts on mortality, philosophy and history, loves and friends, old and new, and vaudeville routines from the remote past. The mood turns more somber once they have returned to the Midwest and Ravelstein succumbs to AIDS, and as Chick himself nearly dies."--Jacket.

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