By Amor Towles
Véritable phénomène d'édition aux États-Unis, le most effective roman d'Amor Towles est un vivid hommage au ny flamboyant de los angeles fin des années 30, où les hommes avaient l. a. mélancolie des héros de Fitzgerald et les femmes l'esprit des héroïnes de George Cukor.
Dactylo dans un grand cupboard juridique de Wall road, Katey Kontent dissimule soigneusement ses origines. Intelligence mordante, nerfs d'acier, ambition, cette fille d'immigrés russes de Brooklyn s'est fixé comme objectif de rejoindre un jour les cercles dorés de long island. Et l'aristocratique et séduisant banquier Tinker gray, rencontré un soir de réveillon, va indirectement lui en ouvrir les portes avant de disparaître. Plus tard, le hasard remettra Tinker sur le chemin d'une Katey qui n'ignore alors plus rien des impitoyables règles du jeu.
« Un most advantageous roman époustouflant, une voix qui tient de Francis Scott Fitzgerald et de Truman Capote mais a su trouver son identité. » [b]Publishers Weekly
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Extra resources for Les Règles du jeu
86 Pound would not have been disturbed in the least to hear that Frost's people would not have wanted much to meet him either. IN DEFENSE OF "WHIM" The reviews of Frost are only a conspicuous, because (as it turns out) canonical, example of the early Pound's literary ideology at work. "87 But what art communicates, and what peace consists of, is the kind of individual and social difference Pound had encouraged in booming Frost: "This communication is not a levelling," he writes, "it is not an elimination of differences.
So it is that Emerson enjoins us to break free every day, every moment - from objects and institutions, which we must leave in our wake. Thus, Emerson's inaugural vision of the American self is bent on radical rupture, not liberal revision. In the fiery polemical form of the early essays, the truth of the Emersonian man is not subject to liberal tinkering - it is all or nothing. It is clear, then, that the Emersonian break with history - and with those objects that embody its threat to make the American self a repetition of that history - constitutes the primal scene of the American individual not as a narrative moment but as a lyric one.
The chief benefit of reading them is this. " 44 Emerson was no friend of that precision and demarcation which resists the boiling down of radiant gists to "unbounded undistinguished abstraction"45 - "undistinguished" as philosophy because the particulars of which it is composed are themselves "undistinguished" in another sense, their differences not respected but obliterated. 47 Even though Pound found Emerson's technique an affront to his aesthetic values, the same cannot be said of their shared political intent.