Jonathan Lethem - Motherless Brooklyn

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Motherless Brooklyn: краткое содержание, описание и аннотация

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Dagger Awards
Lionel Essrog, a.k.a. the Human Freakshow, is a victim of Tourette's syndrome (an uncontrollable urge to shout out nonsense, touch every surface in reach and stroke people. Local tough guy hires Lionel and other boys and grooms them to become the Minna Men, a detective-agency-cum-limo service.
“Under the guise of a detective novel, Lethem has written a more piercing tale of investigation, one revealing how the mind drives on its own ‘wheels within wheels.’ ”
– The New York Times Book Review
“Who but Jonathan Lethem would attempt a half-satirical cross between a literary novel and a hard-boiled crime story narrated by an amateur detective with Tourette’s syndrome?… The dialogue crackles with caustic hilarity… Jonathan Lethem is a verbal performance artist.”
– The Boston Globe
“Part detective novel and part literary fantasia, [Motherless Brooklyn] superbly balances beautiful writing and an engrossing plot.”
– The Wall Street Journal
“Intricately and satisfyingly plotted… Funny and dizzying and heart-breaking.”
– Luc Sante, Village Voice Literary Supplement
“A tour de force… With one unique and well-imagined character, Jonathan Lethem has turned a genre on its ear. He doesn’t just push the envelope, he gives it a swift kick.”
– The Denver Post
“Aside from being one of the most inventive writers on the planet, Lethem is also one of the funniest.”
– San Francisco examiner Chronicle
“In Essrog… Jonathan Lethem has fashioned a lovably strange man-child and filled his cross-wired mind with a brilliant, crashing, self-referential interior monologue that is at once laugh-out-loud funny, tender and in the honest service of a terrific story.”
– The Washington Post Book World
“A true risk-taker… Lethem uses a familiar genre as the backdrop for his own artistic flourishes.”
– The Hartford Courant
“Wildly inventive… Jonathan Lethem has a knack for pushing commonplace ideas to absurdly literal ends.”
– City Pages
“Marvelous… Motherless Brooklyn is, among other things, a tale of orphans, a satire of Zen in the city and a murder mystery.”
– Time Out New York
“Finding out whodunit is interesting enough, but it’s more fun watching Lethem unravel the mysteries of his Tourettic creation.”
– Time
“Wonderfully inventive, slightly absurdist… [Motherless Brooklyn] is funny and sly, clever, compelling and endearing.”
– USA Today
“Utterly original and deeply moving.”
– Esquire
“Motherless Brooklyn is a whodunit that’s serious fiction… Lethem is a sort of Stanley Kubrick figure… stopping off in flat genres to do multidimensional work, blasting their hoary conventions to bits.”
“A pure delight.”
– The New York Observer
“A detective story, a shrewd portrait of Brooklyn, a retold Oliver Twist and a story so baroquely voiced (the hero has Tourette’s syndrome) that Philip Marlowe would blush. And tip his fedora.”
– Newsweek
“Wildly imaginative.”
– Minneapolis Star Tribune
“Funny, delightfully complicated and so outrageously inventive that no pitch could do it justice.”
– Baltimore Sun
“A multi-layered novel that’s fast-paced, witty and touching… Prose diatpunches its way down the page, every word loaded with energy and ready to explode.”
– The Oregonian
“Compulsively readable… Genuinely entertaining… Improbably hilarious… Lethem is at his peak Nabokov-meets-Woody-Allen verbal frenzy.”
– Bookforum
“Most rewarding… Delightfully oddball.”
– The New Yorker
“Motherless Brooklyn is Lethem’s finest work yet-exciting, strange, original, hilarious, human and soulful.”
– The Memphis Commercial Appeal
“A staggering piece of writing… On the edge of genius… The accents, class distinctions, highways, neighborhoods, grocery stores, flavors, scents and, yes, car services in a certain corner of [Brooklyn] are made vividly tangible, arising from these pages as if scratch-and-sniffs were embedded in the margins.”
– San Jose Mercury News
“Imagine the opportunities to explore language that arise when the narrator of a novel has Tourette’s syndrome… Unforgettable.”
– Los Angeles Times

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“See, the thing about Scarface,” said Minna, “is before he got to be Scarface he was Scabface . Nobody ever considers that. You have to want to be Scabface first.”

For a second I thought Minna was going to hit Tony, damage his face to make the point. Tony seemed to be waiting for it too. Then Minna’s fury leaked away.

“Out,” he said. He waved his hand, a Caesar gesturing to the heavens through the dented roof of his refitted postal van.

“What?” said Tony. “Right here?”

“Out,” he said again, equably. “Walk home, you muffin asses.” We sat gaping, though his meaning was clear enough. We weren’t more than five or six blocks from the Home anyway. But we hadn’t been paid, hadn’t gone for beers or slices or a bag of hot, clingy zeppole. I could taste the disappointment-the flavor of powdered sugar’s absence. Tony slid open the door, dislodging more glass, and we obediently filed out of the van and onto the sidewalk, into the day’s glare, the suddenly formless afternoon.

Minna drove off, leaving us there to bob together awkwardly before the drinkers on the stoop. They shook their heads at us, stupid-looking white boys a block from the projects. But we were in no danger there, nor were we dangerous ourselves. There was something so primally humiliating in our ejection that Hoyt Street itself seemed to ridicule us, humble row of brownstones, sleeping bodega. We were inexcusable to ourselves. Others clotted street corners, not us, not anymore. We rode with Minna. The effect was deliberate: Minna knew the value of the gift he’d withdrawn.

“Muffin ass,” I said forcefully, measuring the shape of the words in my mouth, auditioning them for tic-richness. Then I sneezed, induced by the sunlight.

Gilbert and Danny looked at me with disgust, Tony with something worse.

“Shut up,” he said. There was cold fury in his teeth-clenched smile.

“Tellmetodoit, muffinass,” I croaked.

“Be quiet now,” warned Tony. He plucked a piece of wood from the gutter and took a step toward me.

Gilbert and Danny drifted away from us warily. I would have followed them, but Tony had me cornered against a parked car. The men on the stoop stretched back on their elbows, slurped their malt liquor thoughtfully.

“Dickweed,” I said. I tried to mask it in another sneeze, which made something in my neck pop. I twitched and spoke again. “Dickyweed! Dicketywood!” I was trapped in a loop of self, one already too familiar, that of refining a verbal tic to free myself from its grip (not yet knowing how tenacious would be the grip of those particular syllables). Certainly I didn’t mean to be replying to Tony. Yet dickweed was the name Minna had called him, and I was throwing it in his face.

Tony held the stick he’d found, a discarded scrap of lath with clumps of plaster stuck to it. I stared, anticipating my own pain as I’d anticipated Tony’s, at Minna’s hand, a minute before. Instead Tony moved close, stick at his side, and grabbed my collar.

“Open your mouth again,” he said.

“Restrictaweed, detectorwood, vindictaphone,” said I, prisoner of my syndrome. I grabbed Tony back, my hands exploring his collar, fingers running inside it like an anxious, fumbling lover.

Gilbert and Danny had started up Hoyt Street, in the direction of the Home. “C’mon, Tony,” said Gilbert, tilting his head. Tony ignored them. He scraped his stick in the gutter, and came up with a smear of dog shit, mustard-yellow and pungent.

“Open,” he said.

Now Gilbert and Danny were just slinking away, heads bowed. The street was brightly, absurdly empty. Nobody but the black men on the stoop, impassive witnesses. I jerked my head as Tony jabbed with his stick-tic as evasive maneuver-and he only managed to paint my cheek. I could smell it, though, powdered sugar’s opposite made tangible, married to my face.

“Stickmebailey!” I shouted. Falling back against the car behind me, I turned my head again, and again, twitching away, enshrining the moment in ticceography. The stain followed me, adamant, on fire. Or maybe it was my cheek that was on fire.

Our witnesses crinkled their paper bag, offered ruminative sighs.

Tony dropped his stick and turned from me. He’d disgusted himself, couldn’t meet my eye. About to speak, he thought better of it, instead jogged to catch Gilbert and Danny as they shrugged away up Hoyt Street, leaving the scene.

Motherless Brooklyn - изображение 34

We didn’t see Minna again until five weeks later, Sunday morning at the Home’s yard, late May. He had his brother Gerard with him; it was the second time we’d ever laid eyes on him.

None of us had seen Frank in the intervening weeks, though I know that the others, like myself, had each wandered down Court Street, nosed at a few of his usual haunts, the barbershop, the beverage outlet, the arcade. He wasn’t in them. It meant nothing, it meant everything. He might never reappear, but if he turned up and didn’t speak of it we wouldn’t think twice. We didn’t speak of it to one another, but a pensiveness hung over us, tinged with orphan’s melancholy, our resignation to permanent injury. A part of each of us still stood astonished on the corner of Hoyt and Bergen, where we’d been ejected from Minna’s van, where we’d fallen when our inadequate wings melted in the sun.

A horn honked, the Impala’s, not the van’s. Then the brothers got out and came to the cyclone fence and waited for us to gather. Tony and Danny were playing basketball, Gilbert perhaps ardently picking his nose on the sidelines. That’s how I picture it anyway. I wasn’t in the yard when they drove up. Gilbert had to come inside and pull me out of the Home library, to which I’d mostly retreated since Tony’s attack, though Tony had shown no signs of repeating it. I was wedged into a windowsill seat, in sunshine laced with shadows from the barred window, when Gilbert found me there, immersed in a novel by Allen Drury.

Frank and Gerard were dressed too warmly for that morning, Frank in his bomber jacket, Gerard in his patchwork leather coat. The backseat of the Impala was loaded with shopping bags packed with Frank’s clothes and a pair of old leather suitcases that surely belonged to Gerard. I don’t know that Frank Minna ever owned a suitcase in his life. They stood at the fence, Frank bouncing nervously on his toes, Gerard hanging on the mesh, fingers dangling through, doing nothing to conceal his impatience with his brother, an impatience shading into disgust.

Frank smirked, raised his eyebrows, shook his head. Danny held his basketball between forearm and hip; Minna nodded at it, mimed a set shot, dropped his hand at the wrist, and made a delicate O with his mouth to signify the swish that would result.

Then, idiotically, he bounced a pretend pass to Gerard. His brother didn’t seem to notice. Minna shook his head, then wheeled back to us and aimed two trigger fingers through the fence, and gritted his teeth for rat-a-tat , a little imaginary schoolyard massacre. We could only gape at him dumbly. It was as though somebody had taken Minna’s voice away. And Minna was his voice-didn’t he know? His eyes said yes, he did. They looked panicked, as if they’d been caged in the body of a mime.

Gerard gazed off emptily into the yard, ignoring the show. Minna made a few more faces, wincing, chuckling silently, shaking off some invisible annoyance by twitching his cheek. I fought to keep from mirroring him.

Then he cleared his throat. “I’m, ah, going out of town for a while,” he said at last.

We waited for more. Minna just nodded and squinted and grinned his closemouthed grin at us as though he were acknowledging applause.

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