Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

Àííîòàöèÿ: It's December 23, 1971, and heavy weather is forecast for Chicago. Russ Hildebrandt, the associate pastor of a liberal suburban church, is on the brink of breaking free of a marriage he finds joyless - unless his wife, Marion, who has her own secret life, beats him to it. Their eldest child, Clem, is coming home from college on fire with moral absolutism, having taken an action that will shatter his father. Clem's sister, Becky, long the social queen of her high-school class, has sharply veered into the counterculture, while their brilliant younger brother Perry, who's been selling drugs to seventh graders, has resolved to be a better person. Each of the Hildebrandts seeks a freedom that each of the others threatens to complicate.

Àííîòàöèÿ: Jonathan Franzen's huge-canvased new book is about identity, the Internet, sexual politics, and love-among countless other things. It's deeply troubling, richly moving, and hilarious-featuring an unforgettable cast of inimitable Franzenian characters who grapple mightily and rewardingly with the great issues of our time and culture.

Àííîòàöèÿ: Èñòîðèÿ ãåðîåâ «Ñâîáîäû» Óîëòåðà è Ïàòòè Áåðãëóíä îòðàæàåò îïûò öåëîãî ïîêîëåíèÿ, êîòîðîå ïåðåæèëî 11 ñåíòÿáðÿ, âòîðæåíèå â Èðàê, ýêîíîìè÷åñêèé êðèçèñ è âûáðàëî ïðåçèäåíòîì Áàðàêà Îáàìó.  ðîìàíå, áëèñòàòåëüíî âîñêðåøàþùåì òðàäèöèè áîëüøîé ïðîçû 19-ãî âåêà, Äæîíàòàí Ôðàíçåí ðàçìûøëÿåò î òîì, âîçìîæíà ëè ñâîáîäà âûáîðà, çíàåì ëè ìû, ê ÷åìó ñòðåìèìñÿ, êîãäà õîòèì ñâîáîäû, è î òîì, êàê ëåãêî ìû æåðòâóåì ñâîèìè áëèçêèìè ðàäè åå ïðèçðàêà. Ïðåäûäóùèé ðîìàí Ôðàíçåíà «Ïîïðàâêè» (2001), óäîñòîåííûé Íàöèîíàëüíîé êíèæíîé ïðåìèè ÑØÀ, ïîñòàâèë ïèñàòåëÿ â îäèí ðÿä ñ êëàññèêàìè àìåðèêàíñêîé ëèòåðàòóðû è ïðèíåñ åìó ìèðîâóþ èçâåñòíîñòü. «Ñâîáîäà» ñòîëü æå ÿçâèòåëüíûé è ìóäðûé âçãëÿä íà ñåìüþ â ñîâðåìåííîé Àìåðèêå. Íî åñëè â «Ïîïðàâêàõ» êîíôëèêò ïîêîëåíèé òàê è îñòàåòñÿ íåðàçðåøåííûì, íîâûé ðîìàí ýòî èñòîðèÿ î äåòÿõ, êîòîðûå ïîáåäèëè îòöîâ è íå ñòàëè îò ýòîãî ñ÷àñòëèâåå.

Àííîòàöèÿ: Passionate, independent-minded nonfiction from the international bestselling author of THE CORRECTIONS. Jonathan Franzen's THE CORRECTIONS was the best-loved and most written-about novel of 2001. Nearly every in-depth review of it discussed what became known as 'The Harper's Essay, ' Franzen's controversial 1996 look at the fate of the novel. This essay is reprinted for the first time in HOW TO BE ALONE, alongside the personal essays and painstaking, often funny reportage that earned Franzen a wide readership before the success of THE CORRECTIONS. Although his subjects range from the sex-advice industry to the way a supermax prison works, each piece wrestles with familiar themes of Franzen's writing: the erosion of civic life and private dignity, and the hidden persistence of loneliness, in postmodern, imperial America. Alzheimer's disease and a rueful account of Franzen's brief tenure as an Oprah Winfrey author. As a collection, these essays record what Franzen calls 'a movement away from an angry and frightened isolation toward an acceptance -- even a celebration -- of being a reader and a writer. ' At the same time they show the wry distrust of the claims of technology and psychology, the love-hate relationship with consumerism, and the subversive belief in the tragic shape of the individual life that help make Franzen one of the sharpest, toughest-minded, and most entertaining social critics at work today

Àííîòàöèÿ: After fifty years as a wife and mother, Enid Lambert is ready to have some fun. Unfortunately her husband, Alfred, is losing his sanity, and their children have long since fled for the catastrophes of their own lives. As Alfred's condition worsens and the Lamberts are forced to face their secrets and failures, Enid sets her heart on one last family Christmas. Bringing the old world of civic virtue and sexual inhibition into violent collision with the era of hands-off parenting, do-it-yourself mental healthcare and globalised greed, `The Corrections' confirms Jonathan Franzen as one of the most brilliant interpreters of the American soul.

Àííîòàöèÿ: Äâàäöàòèòðåõëåòíÿÿ Ïèï íåíàâèäèò ñâîå ïîëíîå èìÿ - Ïüþðèòè ("÷èñòîòà", èëè "áåçãðåøíîñòü"), íå çíàåò, êòî åå îòåö, íå ìîæåò ðàñïëàòèòüñÿ ñ ó÷åáíûì äîëãîì è íå óìååò ñòðîèòü îòíîøåíèÿ ñ ìóæ÷èíàìè. Ñëåäóÿ çà ãåðîèíåé â åå îòâàæíîì ïîèñêå ñàìîé ñåáÿ, Äæîíàòàí Ôðàíçåí çàòðàãèâàåò âàæíåéøèå ãëîáàëüíûå ïðîáëåìû: ýòî è òîòàëèòàðíàÿ ñóùíîñòü èíòåðíåòà, è îðóæèå ìàññîâîãî ïîðàæåíèÿ, è íàñëåäèå ñîöèàëèçìà â Âîñòî÷íîé Åâðîïå.

Àííîòàöèÿ: Äæîíàòàí Ôðàíçåí - àìåðèêàíñêèé êëàññèê, àâòîð ìèðîâûõ áåñòñåëëåðîâ "Ïîïðàâêè" (2001) è "Ñâîáîäà" (2010), áëåñòÿùèé ýññåèñò. Æóðíàë "Òàéì" íàçâàë åãî âåëèêèì àìåðèêàíñêèì ðîìàíèñòîì. ÄÀËÜÍÈÉ ÎÑÒÐΠ- íîâûé ñáîðíèê î÷åðêîâ Ôðàíçåíà, â êîòîðûé âîøëè âîñïîìèíàíèÿ äåòñòâà è þíîñòè, ðàçäóìüÿ î ëþáâè è ñìåðòè, î òåõíè÷åñêîì ïðîãðåññå, î ìåñòå ëèòåðàòóðû â ñîâðåìåííîì ìèðå, î çàùèòå ïðèðîäû, âïå÷àòëåíèÿ îò íåäàâíèõ ïîåçäîê â Êèòàé è ìíîãîå äðóãîå. Èç ïðîèçâåäåíèé, âîøåäøèõ â êíèãó ÄÀËÜÍÈÉ ÎÑÒÐÎÂ, íåêîòîðûå áûëè íàïå÷àòàíû ðàíåå â ïåðèîäè÷åñêèõ èçäàíèÿõ ("Íüþ-Éîðêåð", "Íüþ-Éîðê òàéìñ", "Òåêíîëîäæè ðåâüþ", "Ãàðäèàí") èëè â êíèãàõ, âêëþ÷àÿ ñáîðíèê "Îò øòàòà ê øòàòó: ïàíîðàìà Àìåðèêè".

Àííîòàöèÿ: In his first novel since The Corrections, Jonathan Franzen has given us an epic of contemporary love and marriage. FREEDOM comically and tragically captures the temptations and burdens of liberty: the thrills of teenage lust, the shaken compromises of middle age, the wages of suburban sprawl, the heavy weight of empire. In charting the mistakes and joys of FREEDOM's intensely realized characters as they struggle to learn how to live in an ever more confusing world, Franzen has produced an indelible and deeply moving portrait of our time

Àííîòàöèÿ: Ðîìàí "Ïîïðàâêè", âûøåäøèé â 2001 ãîäó, ïðèíåñ ñîðîêàäâóõëåòíåìó Äæîíàòàíó Ôðàíçåíó âñåìèðíóþ èçâåñòíîñòü è ïîñòàâèë åãî â îäèí ðÿä ñ êëàññèêàìè àìåðèêàíñêîé ëèòåðàòóðû. Êíèãà ðàçîøëàñü ìèëëèîííûìè òèðàæàìè, ïîëó÷èëà Íàöèîíàëüíóþ êíèæíóþ ïðåìèþ ÑØÀ è áûëà ïåðåâåäåíà íà 35 ÿçûêîâ. Äðàìà îòöîâ è äåòåé â äåêîðàöèÿõ Àìåðèêè 90-õ îêàçàëàñü ïîíÿòíîé è èíòåðåñíîé ñàìûì ðàçíûì ÷èòàòåëÿì. Ýòî ïîñòìîäåðíèñòñêàÿ ñàòèðà, íàïèñàííàÿ â òðàäèöèÿõ êëàññè÷åñêîãî ðîìàíà - ñ ëþáîâüþ ê ïåðñîíàæó è âíèìàíèåì ê äåòàëè, ñ ñî÷íûìè âèçóàëüíûìè îáðàçàìè è ñòðåìëåíèåì ê äîñòîâåðíîñòè.Ïåðâîå ðóññêîå èçäàíèå "Ïîïðàâîê" ñòàëî íàñòîÿùèì ñîáûòèåì. Ñ òåõ ïîð â Ðîññèè âûøåë íîâûé áåñòñåëëåð Ôðàíçåíà - "Ñâîáîäà", ïîðòðåò àìåðèêàíñêîãî îáùåñòâà 2000-õ. Âçãëÿä íà "Ïîïðàâêè" ÷åðåç ïðèçìó "Ñâîáîäû" - îòëè÷íûé ñïîñîá ïîíÿòü, êàê èçìåíèëàñü Àìåðèêà, è ïî-íîâîìó îöåíèòü ìàñòåðñòâî îäíîãî èç åå ëó÷øèõ