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Ne voliš me još Jonathan Lethem

Ne voliš me još

Jonathan Lethem

Published
ISBN :
Paperback
234 pages
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 About the Book 

With his sixth novel, You Dont Love Me Yet, Jonathan Lethem continues to show off his dexterity with the form, following up the coming-of-age epic The Fortress of Solitude with a dreamlike, comic portrait of the Los Angeles art scene. LethemMoreWith his sixth novel, You Dont Love Me Yet, Jonathan Lethem continues to show off his dexterity with the form, following up the coming-of-age epic The Fortress of Solitude with a dreamlike, comic portrait of the Los Angeles art scene. Lethem craftily sets up his ruse with a letter of complaint from Falmouth Strand (a seemingly minor character) who warns us that the book we are about to read completely misrepresents the truth. Falmouth is a former installation artist who has turned from sculpting objects to manipulating peoples despair, pensiveness, ennui. For his latest project, he has posted signs around Los Angeles: Complaints? Call 213 291 7778. The novel centers around Lucinda (the perfect, unwitting instrument for Falmouths manipulation), a bass player in a would-be indie rock quartet with nearly enough good songs for a 35-minute set (if you dont count the two they dont like anymore). Lucinda has vowed to stop sleeping with the bands lead singer Matthew (for real, this time), launching a search for true love as drunken and misguided as the bands search for a decent name. She abandons her upscale barista gig to answer complaint calls for Falmouths conceptual art piece. Before long, she finds herself drawn to a regular whose curious words are like a pulse detected in a vast dead carcass of daily complaints. By way of Lucinda, the genius complainers words spark the bands next song, setting them on a shaky upward trajectory all too familiar in the art world. Various characters want (or dont want) to take credit for the songs apparent success, but who deserves it? The complainer who nonchalantly rattled off the words, Lucinda who wrote them down, the remaining band members who collaboratively put them to music, or Falmouth himself, who passively engineered the whole thing? Fans of Fortress and Motherless Brooklyn may find this novels levity too drastic a shift, but even though Lethem is having a great time here with wordplay, a motley cast, and Lucindas sexual meanderings, You Dont Love Me Yet is anything but a simple entertainment. He plays with our notions of art and authorship, enjoying a bit of advanced cribbery himself as he experiments with Shakespearean antics and inexplicable love match-ups. At every turn, Lethem seems to be asking sticky questions: Can anyone create the consummate intersection of dream, desire, and reality that art (and great sex) embodies? Will it last, and should it? Can any one writer capture that moment with a few meager words? If they did, how long would it take for it to be reduced to meaningless slogan? --Heidi Broadhead