Задум

"Zadum" - zakhoplyvyĭ psykholohichnyĭ tryler vid amerykansʹkoï pysʹmennyt͡si Dz͡hyn Hanff Korelit͡s, i͡akyĭ vyĭde drukom u kvitni u vydavnyt͡stvi #knyholav. U t͡sentri si͡uz͡hetu kolysʹ molodyĭ perspektyvnyĭ pysʹmennyk Dz͡heĭkob Finch Bonner, chyi͡a persha knyz͡hka otrymala dobri vidhuky. Ale nyni vin vykladai͡e literaturnu tvorchistʹ u tretʹosortnomu koledz͡hi ĭ namahai͡etʹsi͡a pidtrymaty zalyshky samopovahy, bo davno vz͡he ne pysav - i tym pache ne publikuvav - nichoho putnʹoho. Odyn z ĭoho studentiv, zverkhniĭ i samovpevnenyĭ Evan Parker, oholoshui͡e, shcho ne potrebui͡e Dz͡heĭkovoho nastavnyt͡stva. Adz͡he holovne v romani - zadum, a ĭoho zadum prosto ne moz͡he ne vystrilyty. Dz͡heĭk hotovyĭ spysaty t͡si vykhvali͡anni͡a na typovyĭ nart͡sysyzm novachka-amatora, ale potim ĭomu rozpovidai͡utʹ si͡uz͡het maĭbutnʹoho tvoru. Za kilʹka rokiv Dz͡heĭk, uz͡he maĭz͡he zabuvshy pro t͡se, dovidui͡etʹsi͡a pro smertʹ Evana Parkera. Nevz͡he Parker tak i ne napysav svoho romanu? Nevz͡he propade taka istorii͡a? I Dz͡heĭk sidai͡e sam pysaty chuz͡hyĭ tvir, navitʹ ne pidozri͡ui͡uchy, do i͡akykh naslidkiv moz͡he pryzvesty t͡si͡a 'kradiz͡hka'. "Zadum" - knyz͡hka u knyz͡ht͡si. Psykholohichno napruz͡henyĭ tryler pro istorii͡u pysʹmennyka, pysʹmenstvo, vydavnyt͡stvo ta shakhraĭstvo. Chy koz͡hen moz͡he staty pysʹmennykom? Adz͡he koz͡hen mytet͡sʹ "mai͡e unikalʹnyĭ holos i khoche buty pochutym". U knyzi chytachi zanuri͡ui͡utʹsi͡a u tai͡emnychu istorii͡u holovnoho heroi͡a ta diznai͡utʹsi͡a pro neprostyĭ, ale zamanlyvyĭ svit pysʹmennykiv, i͡aki prahnutʹ rozpovisty svoi͡u istorii͡u svitu, shukai͡utʹ natkhnenni͡a, ideï dli͡a si͡uz͡hetu, dolai͡utʹ tvorchi ta kar'i͡erni kryzy, ryzykui͡utʹ "zapozychyty" zadum dli͡a napysanni͡a knyz͡hky, shchob zdobuty omrii͡anu populi͡arnistʹ. "Moz͡he vydatysi͡a, shcho "Zadum" zanadto suvoro proĭshovsi͡a po pysʹmennykakh, ale nekhaĭ t͡se nikoho ne dyvui͡e: my suvori sami do sebe. I͡Ak po pravdi, vaz͡hko zustrity inshykh mytt͡siv, shche bilʹshe skhylʹnykh do samobychuvanni͡a. Prote, v zahalʹnomu pidsumku, my shchaslyvt͡si. Po-pershe, cherez te, shcho my prat͡si͡ui͡emo z movoi͡u, a mova - zakhoplyva rich. Po-druhe, my li͡ubymo istoriï i hrai͡emosi͡a nymy. Vyprokhani, pozycheni, pererobleni, prykrasheni... moz͡hlyvo, navitʹ ukradeni - vsi vony chastyna velykoï rozmovy" - zaznachai͡e Dz͡hyn Hanff Korelit͡s, avtorka knyz͡hky.

"Plan" is a fascinating psychological thriller from American writer Jean Gunff Korelitz, which will be published in April by #knigolav publishing house. In the center of the plot is once a young promising writer Jacob Finch Bonner, whose first book received good reviews. But now he teaches literary work at a third – rate college and tries to maintain the remnants of self – esteem, because he has not written-and even more so has not published-anything worthwhile for a long time. One of his students, the arrogant and self-confident Evan Parker, announces that he doesn't need Jake's mentoring. After all, the main thing in the novel is the idea, and his idea simply cannot fail to shoot. Jake is ready to write off these bragging rights as the typical narcissism of an amateur novice, but then he is told the plot of the future work. A few years later, Jake, almost forgetting about it, learns about the death of Evan Parker. Had Parker never written his novel? Will such a story really disappear? And Jake sits down to write someone else's work himself, not even suspecting what consequences this "theft" can lead to. "Plan" is a book within a book. A psychologically intense thriller about a writer's story, writing, publishing, and cheating. Can anyone become a writer? After all, every artist "has a unique voice and wants to be heard." In the book, readers are immersed in the mysterious story of the main character and learn about the difficult but tempting world of writers who want to tell their story to the world, look for inspiration, ideas for the plot, overcome creative and career crises, risk “borrowing” the idea for writing a book in order to gain the desired popularity. "It may seem that the" plan " went too strictly over the writers, but let this not surprise anyone: we are strict with ourselves. In truth, it is difficult to meet other artists who are even more prone to self-flagellation. However, in the end, we are lucky. First, because we work with language, and language is an exciting thing. Secondly, we love stories and play with them. Straightened, borrowed, recycled, decorated... maybe even stolen — they're all part of a big conversation," says Gene Gunff Korelitz, author of the book.