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By Nightfall (2010)

de Michael Cunningham

MembrosResenhasPopularidadeAvaliação médiaMenções
1,1687116,836 (3.38)40
Peter and Rebecca Harris--mid-forties denizens of Manhattan's SoHo, he a dealer, she an editor--are admirable, enviable contemporary urbanites with every reason, it seems, to be happy. Then Rebecca's much younger look-alike brother, Ethan (known in the family as Mizzy, "the mistake"), shows up for a visit.… (mais)
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    Death in Venice de Thomas Mann (sturlington)
    sturlington: By Nightfall was inspired by Death in Venice and references it extensively.
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Inglês (63)  Holandês (3)  Francês (2)  Espanhol (1)  Norueguês (1)  Italiano (1)  Todos os idiomas (71)
Mostrando 1-5 de 71 (seguinte | mostrar todas)
This was a good story and a realistic depiction of middle age - a realistic middle-aged marriage, realistic middle-aged sex, realistic middle-aged insomnia. I loved that he woke up at 3 am every night and I love that he took pills for it. AND vodka. ( )
  Tytania | Jan 21, 2024 |
Amazing writing about New York City and people. ( )
  ghefferon | Nov 21, 2023 |
This is a powerful book, told from the POV of Peter. Peter is an art dealer, and while he's not a big time player, he loves his job. Thinks get turned upside down when his wife's brother Mizzy(short for Mistake) shows up claiming to want to clean up his act and do "something in Art". We really see the world through Peter's eyes, and I especially liked how his interior monologue was interjected into conversations so we know what he really wanted to say. ( )
  dogboi | Sep 16, 2023 |
I'm a Michael Cunningham fan girl. It's impossible for me to be unbiased about anything Michael Cunningham writes. I have a sneaking suspicion that I have some amount of cognitive dissonance about By Nightfall - a book that I've wanted for over a year; that I picked up and lingered over every time I was in a bookstore; that I scoured every used bookstore for; that I finally paid full price in a physical bookstore for a new copy because I wanted it that badly (paperback; I haven't lost my mind); that I derailed a vacation for in order to see Cunningham speak about at the national book fair. So, I'm a little obsessed. And I have a suspicion that I read the book that I wanted to read, rather than the book Cunningham wrote.

I loved the introspective pieces of this book. The interstitial portions where characters ordered coffee and went on train rides were Cunningham at his best - he describes the mundanity of the human condition in a way that is both honest and profound and is completely unparalleled.

I loved the concepts in this book - that we, as humans, are in love with beauty, in love with art, in love with the profound and constantly disappointed in the inability of reality to produce concrete things that live up to the expectations in our imaginations. That we cultivate the relationships that exist in our life for their symbolism, and for their reflection on ourselves and for the concepts that they engender moreso than for the actually people in them. That the people we are when we are honestly alone -- mentally, physically alone -- is not ever the person that we can be to others.

I did not love the actual plot of this book. I was bored, rather than enthralled by Mizzy. I felt that at times, the symbolism was too on the nose (seriously, a character named "The Mistake") and other times the mundanity was, well, mundane. Perhaps those feelings are apropos, given the context -- Cunningham is one of the artists he describes, striving to find beauty, to unsettle, to provoke and coming up just a little short. ( )
  settingshadow | Aug 19, 2023 |
Imaginemos un apartamento exquisito y algo bohemio en SoHo; si asomamos la cabeza por la ventana veremos a una pareja de mediana edad que toma una comida ligera en la cocina o se acaricia en el dormitorio, sin que la mujer se moleste ya en quitarse esos calcetines de lana que tanto le gustan. Ella se llama Rebecca, él Peter Harris; llevan juntos muchos años y comparten la misma afición por el arte. La pasión de antes es ahora complicidad y todo parece presagiar que así seguirán sus días, pero de repente aparece Dizzy, el hermano de Rebecca, que tiene poco más de veinte años. El chico se instala en casa de los Harris, buscando consuelo y ayuda tras una época de confusión y adicción a la drogas. Su hermoso cuerpo, que el chico muestra con desenvoltura, es a ojos del cuñado el símbolo de la belleza pura, captada en ese momento mágico en que todo parece aun posible. Bien mirado, Dizzy es Rebecca, pero libre de los estragos del tiempo, y Peter se descubre dispuesto a gozar de nuevo, a apostar por una locura y a pagar su precio. La vida se encargará de resolver las dudas de Peter Harris, pero Michael Cunningham lo retrata aquí sin que importen sus arrugas, y consigue algo que solo saben hacer los grandes maestros: que la imperfección de un hombre, su vulnerabilidad, su poquedad, sean finalmente un elogio a lo que de más humano hay en cada uno de nosotros.
  Natt90 | Mar 30, 2023 |
Mostrando 1-5 de 71 (seguinte | mostrar todas)
Peter gaat gebukt onder wat hij zelf 'de grote verwarring' noemt. De vierenveertigjarige kunsthandelaar voelt na twintig jaar ontwrichtende routine sluipen in werk en huwelijk, en dat privéonbehagen rijmt lamlendig met dat van zijn door de bankencrisis geteisterde land en stad. New York, haast een personage in deze roman, noemt hij 'één van de meest godvergeten warhopen die ooit op het verraderlijke aardoppervlak zijn verschenen'. Al die crises weerspiegelen en versterken elkaar, met dank aan de ragfijne taaltoets van Cunningham, zodat een zwartkanten voile als voor een begrafenis over de hele roman komt te hangen. Al die apocalyptische doodsangst is de donkere ommekant van Peters hang naar schoonheid, zo leert het motto van Rainer Maria Rilke : 'Schoonheid is niets anders dan het begin der verschrikking.'
adicionado por PGCM | editarHumo (Nov 24, 2010)
 
Binnen één alinea zie je het voor je, dat best wel gelukkige huwelijk met sleetse randjes. Zoals Cunningham wel meer moeiteloos oproept, in dat elegante, compacte proza van hem. Het van cocktailparty's aan elkaar hangende SoHomilieu waarin ze zich bewegen, bijvoorbeeld. Of de kloof tussen Peters hooggestemde idealen - strijden voor de hogere kunsten, zoeken naar schilderijen waar zijn hart sneller van gaat kloppen - en de nogal schipperige praktijk, vol gevlei van directeursvrouwen die nog een sculptuur zoeken voor hun tuin, en kolossale ego's van kunstenaars die op het púnt staan door te breken.
adicionado por PGCM | editarHet Parool, Dirk-Jan Arensman (Nov 17, 2010)
 
In het recent verschenen Bij het vallen van de avond keert Cunningham terug naar de basics van het getal drie: de driehoeksverhouding, heel simpel. Een getrouwde man en vrouw – en een derde die het huwelijk ontregelt en op de proef stelt. Simpeler, kaler kan een romangegeven niet zijn. En dan is er nog het feit dat Michael Cunningham nu al voor de derde keer op rij een roman publiceert die naar vorm én inhoud sterk is verweven met een meesterwerk uit de wereldliteratuur. De uren was onmiskenbaar verknoopt met Mrs Dalloway (1925) van Virginia Woolf. In Stralende dagen duikt voortdurend de wereldberoemde dichtbundel Leaves of Grass (1855) van Walt Whitman op. En Bij het vallen van de avond blijkt sterk geënt op Thomas Manns Dood in Venetië (1912). Net als Dood in Venetië, de novelle over de liefde-op-afstand tussen de oude schrijver Gus­tave Aschenbach en de beeldschone jongeling Tadzio, draait het in Bij het vallen van de avond om de aarzelende liefde van de getrouwde Peter voor een veel jongere man, de begin-twintiger Ethan. Bijnaam: Mizzy.

Maar dan blijkt Peter op het monomane af ­begaan met zijn eigen onbehagen. Hij is zo ­iemand die bij de geringste mededeling of oogopslag van zijn vrouw direct voor zichzelf wil evalueren: waarom zegt ze dit? Of: waarom kijkt ze op deze manier naar mij? Ben ik nog wel gelukkig met haar? Máákt ze mij nog wel gelukkig? Het zijn de gewone vragen die we ons in een relatie allemaal stellen, maar Peter stelt zich die vragen voortdúrend. Het wordt bij hem een neurose. Dat onafgebroken bevragen van zijn eigen geluk of, liever gezegd, het door hemzelf gecultiveerde ongeluk, houdt hem zó intens bezig dat hij vergeet zich nog praktisch te verdiepen in die ander, in zijn vrouw. Zij functioneert alleen nog maar als aanjager van de twijfels die hij op zichzelf loslaat. Die twijfels houden hem zó sterk in hun greep dat hij geen oog meer heeft voor het feit dat zijn vrouw een volwaardig en autonoom wezen is, een nabije aanwezigheid met een ­éígen ziel.’
adicionado por PGCM | editarVrij Nederland, Joost Zwagerman (Nov 12, 2010)
 
Cunningham writes so well, and with such an economy of language, that he can call up the poet’s exact match. His dialogue is deft and fast. The pace of the writing is skilled — stretched or contracted at just the right time. And if some of the interventions on art are too long — well, too long for whom? For what? Good novels are novels that provoke us to argue with the writer, not just novels that make us feel magically, mysteriously at home. A novel in which everything is perfect is a waxwork. A novel that is alive is never perfect.
 

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Peter and Rebecca Harris--mid-forties denizens of Manhattan's SoHo, he a dealer, she an editor--are admirable, enviable contemporary urbanites with every reason, it seems, to be happy. Then Rebecca's much younger look-alike brother, Ethan (known in the family as Mizzy, "the mistake"), shows up for a visit.

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