Oryx and Crake
(Sprache: Englisch)
NATIONAL BESTSELLER The first volume in the internationally acclaimed MaddAddam trilogy is at once an unforgettable love story and a compelling vision of the future f...
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NATIONAL BESTSELLER The first volume in the internationally acclaimed MaddAddam trilogy is at once an unforgettable love story and a compelling vision of the future from the bestselling author of The Handmaid's Tale and The TestamentsSnowman, known as Jimmy before mankind was overwhelmed by a plague, is struggling to survive in a world where he may be the last human, and mourning the loss of his best friend, Crake, and the beautiful and elusive Oryx whom they both loved. In search of answers, Snowman embarks on a journey with the help of the green-eyed Children of Crake through the lush wilderness that was so recently a great city, until powerful corporations took mankind on an uncontrolled genetic engineering ride. Margaret Atwood projects us into a near future that is both all too familiar and beyond our imagining.
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1 Mango
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.
On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.
Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.
"Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.
He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and
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mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.
He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.
"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .
He bets they didn't refrain, though. Nine times out of ten.
"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits dow
He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.
"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .
He bets they didn't refrain, though. Nine times out of ten.
"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits dow
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Autoren-Porträt von Margaret Atwood
Margaret Atwood is the author of more than fifty books of fiction, poetry and critical essays. Her novels include Cat s Eye, The Robber Bride, Alias Grace, The Blind Assassin, and the MaddAddam trilogy. Her 1985 classic, The Handmaid s Tale, was followed in 2019 by a sequel, The Testaments, which was a global number one bestseller and won the Booker Prize. In 2020 she published Dearly, her first collection of poetry for a decade.Atwood has won numerous awards including the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade, the PEN USA Lifetime Achievement Award and the Dayton Literary Peace Prize. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer. She lives in Toronto, Canada.
Bibliographische Angaben
- Autor: Margaret Atwood
- 2004, 400 Seiten, Maße: 13,2 x 20,3 cm, Kartoniert (TB), Englisch
- Verlag: VINTAGE
- ISBN-10: 0385721676
- ISBN-13: 9780385721677
- Erscheinungsdatum: 16.09.2019
Sprache:
Englisch
Pressezitat
Towering and intrepid. . . . Atwood does Orwell one better. The New YorkerAtwood has long since established herself as one of the best writers in English today, but Oryx and Crake may well be her best work yet. . . . Brilliant, provocative, sumptuous and downright terrifying. The Baltimore Sun
Her shuddering post-apocalyptic vision of the world . . . summons up echoes of George Orwell, Anthony Burgess and Aldous Huxley. . . . Oryx and Crake [is] in the forefront of visionary fiction. The Seattle Times
A book too marvelous to miss. The San Diego Union-Tribune
Majestic. . . . Keeps us on the edges of our seats. The Washington Post
A compelling futuristic vision. . . . Oryx and Crake carries itself with a refreshing lightness. . . . Its shrewd pacing neatly balances action and exposition. . . . What gives the book a deeper resonance is its humanity. Newsday
[A] stunning new novel possibly her best since The Handmaid s Tale. Time Out New York
A delightful amalgam for the sophisticated reader: her perfectly placed prose, poetic language and tongue-in-cheek tone are ubiquitous throughout, as if an enchanted nanny is telling one a dark bedtime story of alienation and ruin while lovingly stroking one s head. Ms.
Truly remarkable. . . . As fun as it is dark. . . . A feast of realism, science fiction, satire, elegy and then some. . . . Atwood has concocted here an all-too-possible vision. . . . [She is] a master. The News & Observer (Raleigh, North Carolina)
A roll of dry, black, parodic laughter. . . . One of the year s most surprising novels. The Economist
Sublime. . . . Good, solid, Swiftian science fiction from a . . . literary artist par excellence. The Denver Post
Dances with energy and sophisticated gallows humor. . . . [Atwood s] wry wit makes dystopia fun. People
A crackling read. . . . Atwood is one of the most impressively ambitious writers of our time. The Guardian
Gorgeously
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written, full of eyeball-smacking images and riveting social and scientific commentary. . . . A cunning and engrossing book by one of the great masters of the form. The Buffalo News
A powerful vision. . . . Very readable. The New York Times Book Review
Brilliant, impossible to put down. . . . Atwood . . . is at once commanding and enchanting. Piercingly intelligent and piquantly witty, highly imaginative and unfailingly compassionate, she is a spoonful-of-sugar storyteller, concealing the strong and necessary medicine of her stinging social commentary within the balm of dazzlingly complicated and compelling characters and intricate and involving predicaments. The Atlanta Journal-Constitution
Original and chilling. . . . Powerful, inventive, playful and difficult to resist. Pittsburgh Post-Gazette
Brilliantly constructed. . . . Jimmy and Crake grip like characters out of Greek tragedy. . . . Atwood herself is one of our finest linguistic engineers. Her carefully calibrated sentences are formulated to hook and paralyse the reader. The Daily Telegraph
Atwood does not disappoint. The Dallas Morning News
Gripping. . . . Bursts with invention and mordant wit, none of which slows down its headlong pace. . . . Atwood is in sleek form. . . . [Her] prescience is unsettling. St. Petersburg Times
Biting, black humor and absorbing storytelling. . . . Atwood entices. USA Today
Compelling. . . . Packed with fascinating ideas. . . . Her most accessible book in years, a gripping, unadorned story. The Onion
This superlatively gripping and remarkably imagined book joins The Handmaid s Tale in the distinguished company of novels (The Time Machine, Brave New World and 1984) that look ahead to warn us about the results of human shortsightedness. The Times (London)
Absorbing. . . . Atwood ahs not lost her touch for following the darker paths of speculative fiction she easily creates a believable, contained future world. Seattle Weekly
Engrossing. . . . A novel of ideas, narrated with an almost scientific dispassion and a caustic, distanced humor. The prose is fast and clean. Rocky Mountain News
Riveting and thought-provoking. . . . Keen and cutting. . . . [Atwood] has grown into one of the most consistently imaginative and masterful fiction writers writing in English today. Richmond Times-Dispatch
A powerful vision. . . . Very readable. The New York Times Book Review
Brilliant, impossible to put down. . . . Atwood . . . is at once commanding and enchanting. Piercingly intelligent and piquantly witty, highly imaginative and unfailingly compassionate, she is a spoonful-of-sugar storyteller, concealing the strong and necessary medicine of her stinging social commentary within the balm of dazzlingly complicated and compelling characters and intricate and involving predicaments. The Atlanta Journal-Constitution
Original and chilling. . . . Powerful, inventive, playful and difficult to resist. Pittsburgh Post-Gazette
Brilliantly constructed. . . . Jimmy and Crake grip like characters out of Greek tragedy. . . . Atwood herself is one of our finest linguistic engineers. Her carefully calibrated sentences are formulated to hook and paralyse the reader. The Daily Telegraph
Atwood does not disappoint. The Dallas Morning News
Gripping. . . . Bursts with invention and mordant wit, none of which slows down its headlong pace. . . . Atwood is in sleek form. . . . [Her] prescience is unsettling. St. Petersburg Times
Biting, black humor and absorbing storytelling. . . . Atwood entices. USA Today
Compelling. . . . Packed with fascinating ideas. . . . Her most accessible book in years, a gripping, unadorned story. The Onion
This superlatively gripping and remarkably imagined book joins The Handmaid s Tale in the distinguished company of novels (The Time Machine, Brave New World and 1984) that look ahead to warn us about the results of human shortsightedness. The Times (London)
Absorbing. . . . Atwood ahs not lost her touch for following the darker paths of speculative fiction she easily creates a believable, contained future world. Seattle Weekly
Engrossing. . . . A novel of ideas, narrated with an almost scientific dispassion and a caustic, distanced humor. The prose is fast and clean. Rocky Mountain News
Riveting and thought-provoking. . . . Keen and cutting. . . . [Atwood] has grown into one of the most consistently imaginative and masterful fiction writers writing in English today. Richmond Times-Dispatch
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