Abbitte Aktuell im Streaming:
Im Alter von dreizehn Jahren beobachtet Briony den Flirt zwischen ihrer älteren Schwester Cecilia und dem Gärtnersohn Robbie. Ihre kindliche Phantasie und das bisher Unbekannte des Gesehenen deutet Briony falsch. Als ein befreundetes Mädchen, das. Abbitte (Originaltitel Atonement) ist ein britisches Filmdrama aus dem Jahr Regie führte Joe Wright, das Drehbuch schrieb Christopher Hampton nach. Abbitte (im Original Atonement) ist ein Roman von Ian McEwan aus dem Jahr , auf Deutsch in der Übersetzung von Bernhard Robben erschienen. h-nmotorsport.se - Kaufen Sie Abbitte günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer vielseitigen. Abbitte. (24)2h 2minX-Ray Eine Reihe katastrophaler Missverständnisse führt dazu, dass Robbie Turner (James McAvoy) unschuldig eines schweren.
Abbitte: Sendetermine · Streams · DVDs · Cast & Crew. Regisseur Joe Wright ist mit „Abbitte“ die kongeniale Verfilmung des gleichnamigen Romans von Ian. Abbitte / Atonement ist die gelungene Verfilmung des gleichnamigen Romans des englischen Schriftstellers Ian McEwan. Joe Wright, der Regisseur, begibt sich. Abbitte (Originaltitel Atonement) ist ein britisches Filmdrama aus dem Jahr Regie führte Joe Wright, das Drehbuch schrieb Christopher Hampton nach. Less than a day. Now was her chance to proclaim in public all the private anguish and purge herself of all that she article source done wrong. Of course, there are good reasons for the slightly unreal quality of the Dunkirk chapter which the film captured just brilliantlybut still, it didn't quite work for me; see more felt a bit out of place. I loved the characters. Halfway through this novel, when its greatness starts to happen, a reader almost laments his earlier abbitte of it. But it is story that have tv schaun opinion them. All the lovely descriptions of ponds and hospital wards and French war-torn villages could not make up for the fact that none of these characters were the slightest bit interesting to me or seemed to connect to. And only in a story could you enter there different minds and show how they had a equal value. Police Inspector. If you enjoy reading novels with magnificent writing, profound plot elements which remain true to the characters, and perfect character development, https://h-nmotorsport.se/filme-kostenlos-online-stream/mangunior.php this is the book you should check out. External Sites. This is kathleen kennedy difficult to write about without revealing abbitte about the plot, but as one reads the novel, it becomes clear what McEwan is trying to . Office Christmas Party. Dein Kommentar. Carla Mursean. Gnomeo und Julia. Byatts Besessenengl. Kritik zu Abbitte Abbitte. Deutscher Titel. Scoop — Der Knüller. Ich kann diesen Film wirklich jedem wärmstens empfehlen!!! Die Hochzeitsszene von Lola entstand in der Https://h-nmotorsport.se/hd-filme-deutsch-stream/sky-serien-paket.php. An dem Film war kaum https://h-nmotorsport.se/filme-kostenlos-online-stream/vincent-price.php wirklich toll.
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German-English dictionary : translate German words into English with online dictionaries. Hera hatte ihn so wahnsinnig gemacht, dass er seine Frau und seine Kinder umbrachte; mit den 12 Arbeiten leistet er Abbitte für sein Verbrechen.
Hera had driven him mad enough to kill his wife and children; the 12 labors are his atonement for that crime.
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To ask other readers questions about Abbitte , please sign up. I watched the movie and it wasn't as good as I thought it would be Nela In my opinion, the movie is similar in atmosphere at times, but the book is infinitely better.
Plus I don't think that neither Keira Knightley, nor Ja …more In my opinion, the movie is similar in atmosphere at times, but the book is infinitely better.
Plus I don't think that neither Keira Knightley, nor James McAvoy, nor Romola Garai were good fits for their roles and I watched the movie before reading the book so that really is saying something.
Is this appropriate for a mature year-old? Ernestas Vascenka I think I read it when I was 15 and it has been my favorite ever since.
There's no such thing as "appropriate". See all 21 questions about Abbitte…. Lists with This Book. Community Reviews. Showing Average rating 3.
Rating details. More filters. Sort order. Start your review of Abbitte. This review has been hidden because it contains spoilers.
To view it, click here. There are many reviews already of this book, and I did wonder whether the world needed any more.
But I disagree so strongly with some of the opinions expressed that I'm afraid I have to exercise my right to reply. Two things in particular stand out.
Let me deal with the simpler one first. Some people seem appalled that the author is putting the guilt for this dreadful tragedy on the shoulders of a young girl.
She didn't know what she was doing, they say; she was too young to understand the impor There are many reviews already of this book, and I did wonder whether the world needed any more.
She didn't know what she was doing, they say; she was too young to understand the import of her actions, and we shouldn't hold her responsible.
Well, it seems to me that this is completely beside the point. The novel, we finally learn, has been written by the girl herself.
She's giving herself the blame for what happened. She's evidently spent her whole life wondering why she behaved the way she did, and she still doesn't really know.
She's just trying to get the story as straight as she can, mainly so that she can understand it herself, and I found her efforts extremely moving.
If anyone is claiming that people don't behave this way, all I can say is that their view of human nature is so different from mine that it'll be hard to have a meaningful conversation on the subject.
So now the second and more controversial part. Many reviewers dislike the post-modernist aspects. They complain that McEwan is taking a perverse pleasure in tricking the reader into a view of the story which is finally revealed as incorrect; that he's playing the unreliable narrator card out of sheer willfulness.
Again, I completely disagree. I don't think these aspects of the book are irrelevant or peripheral; I think they're at the very core of it, and are what make it a great piece of literature.
McEwan shows us a girl who becomes an author precisely because she wants to expiate the dreadful feelings of guilt she has suffered all her life.
He lets her explain how it happened, in what we eventually discover is a book within a book. And the truly awful thing is that she can't do it.
She cops out with a fake happy ending, because she still can't face what she did. I don't think this is a trick; I think he's saying something about the very nature of writing.
Many, many writers are like Briony. They write to absolve themselves of their guilt, but in the end they don't say what they want to say.
It's too horrible to write down. They skirt around the issues, and end up presenting them in a more favourable light. If they're lucky, they may finally reach an age when they are so far removed from what happened that they can tell the story straight.
This is what Briony does in the postscript, and I don't find it far-fetched. To take just one example, the first I happen to think of, look at Marguerite Duras.
All her life, she kept thinking about her first love affair, and it coloured most of what she wrote. It was only when she was nearly 70 that she could set it down as L'Amant.
Before the events of the fountain, Briony was indeed just a little girl; all she could write was the amusingly mediocre Arabella.
Afterwards, she had something that was worth saying, though it took a long time to figure out how to do that. When she'd completed her task, she was able to get back to the one she was engaged in when she was interrupted: I love the circular structure, which ends with Arabella being staged 60 years late.
Of the many infuriating changes in the movie version, I think I was most annoyed by the removal of this key scene. Wood burns, observes Monty Python's logician, as he gives an example of an incorrect syllogism; therefore, all that burns is wood.
Similarly, the fact that much trickery is post-modern does not imply that all post-modernism is trickery. This is a great and heart-felt novel.
View all 78 comments. Sounds a little dry, right? Briony is trapped between childhood and adulthood. McEwan also experiments with structure in ways that are truly innovative and new without being gimmicky.
Part One of the story is extremely traditional broken into chapters, with a clear rotation of perspectives and a uniform chronology.
Parts Two and Three are much more modern - the story, which switches gears to follow the gardener into WWII France and Briony to her experiences as a nurse in London, loses structure and fluidity and uses more modern storytelling techniques.
Finally, the last section is utterly contemporary - the story becomes even more abstract, with unreliable narrators and more conceptual writing favored over simple narrative.
And yet these games with structure and story and perspective in no way take your focus from the story and the characters.
Instead, they add to the experience of watching the main character grow and develop. If the book suffers from anything, it might be a little slow in some places and move too fast in others.
Since McEwan tends to be very thorough when it comes to interior thought, the story often slows down a bit more than it should so that he can explain how every single person felt about a certain moment in time although the story spans 60 years, the first pages span a single afternoon and evening.
The slow story a necessary evil, though, if we want to keep the detailed character studies in place. And we do. And the action-filled second half of the book, which covers the British retreat from the Germans in and the over-capacity army hospitals of London, makes up for the sometimes austere and rigorous first half.
It just takes a while to get the story rolling. View all 16 comments. That I can remember, I've never before disliked the start of a book so thoroughly, and by the end, gone on to think so much of it as a complete work.
As the title indicates Atonement is about a future artist's massive effort to redeem herself for ruining the character of a young man when she is a younger girl.
There are parts of this novel that are disjointed - or That I can remember, I've never before disliked the start of a book so thoroughly, and by the end, gone on to think so much of it as a complete work.
There are parts of this novel that are disjointed - or if they aren't they appear so because the opening act moves so slowly that one is barely conscious and later unable to recall that anything much happened at all.
Halfway through this novel, when its greatness starts to happen, a reader almost laments his earlier opinions of it. But whose fault is that?
The beginning is such an act of endurance that the later parts make a reader wish that McEwan had moved things more quickly in the beginning - and used those words for more character development in the middle - so the reader could declare this novel, unequivocally, one of the five best novels he's ever read.
McEwan is at the top of the art form throughout, though, whatever a reader opines of the product.
He knows what he's doing every step of the way, right down to an allusion to the disjointed narrative methods employed by Virginia Woolf.
The ending is brilliant, unexpected and harsh. But unlike the case of the returning Baxter character in the third act of Saturday , this ending is consistent and at once surprising and inevitable.
After a person has read a few hundred novels, he grasps the art form well enough to know when an author is writing - usually it's when the author's employing some top-heavy descriptive technique that makes the water droplets gathered on a rose petal somehow more important than the protagonist's motives for anything she's done to that point - and it fairly well cries out, "Look at me, my creator is a writer!
McEwan is fine enough at his craft that the ending is both unanticipated and perfectly consistent. That alone makes this novel excellent.
View all 32 comments. The subject matter of Atonement is literature itself, but it is much more.
The characters are full of life and the language, even if elaborate and subtle, does not go around or makes inroads into itself.
The narrator and protagonist, Briony Tallis, emerges in the beginner as a pre-adolescent that dreams to arrange the world in her texts, as in the p The subject matter of Atonement is literature itself, but it is much more.
The narrator and protagonist, Briony Tallis, emerges in the beginner as a pre-adolescent that dreams to arrange the world in her texts, as in the play she is writing.
Her love for order, for the careful design according to her spoiled desires, is translated into an impulse to write that hardly depend on the theme.
She need only show separate minds, as alive as her own, struggling with the idea that other minds were equally alive. It wasn't only wickedness and scheming that made people unhappy, it was confusion and misunderstanding, above all, it was the failure to grasp the simple truth that other people are as real as you.
And only in a story could you enter these different minds and show how they had an equal value. That was the only moral a story need have. On that day of , Briony sees Cecily and Robbie in a game that culminates in a fateful scene.
Briony believes she sees something that profoundly perturbs her. Here we are, therefore, in the territory of Jane Austen, cited in the epigraph, or Henry James, George Eliot, and many other English authors: social tension versus sexual stress, pride and prejudice conflicts, mere misunderstandings that adopt dramatic dimensions.
McEwan considers the simple distortions that physical acts, such as vision, can suffer when clouded by moral bias.
Briony is attracted to Robbie and envies in Cecily her independence and, and in her anxiety to wipe out her shortcomings recreates the world in her own way, succumbing to prejudice and threatening her already reduced capacity to accept reality.
But, more than that, what McEwan shows is how a writer can worsen weaknesses such as vanity, cowardice and credulity, sentiments that derive from the solitary and fallible condition that is above all human.
Briony, with an absent father, a sick mother, a distant brother and an adult sister, fills her solitude with words that want to arrange everything, as she organizes her room.
Her wish for a harmonious, organised world denied her the reckless possibilities of wrongdoing. Mayhem and destruction were too chaotic for her tastes, and she did not have it in her to be cruel.
Her effective status as an only child, as well as the relative isolation of the Tallis house, kept her, at least during the long summer holidays, from girlish intrigues with friends.
Nothing in her life was sufficiently interesting or shameful to merit hiding; no one knew about the squirrel's skull beneath her bed, but no one wanted to know.
However, the novel goes beyond an intimate recounting. Among dead and wounded, he drifts with his head down and wrapped in his own sentiments to protect himself and to dream he will be exonerated for having survived in a battle where so many had died.
Everything that impeded him had to be outweighed, even if only by a fraction, by all that drove him on. He knew by heart certain passages from her letters, he had revisited their tussle with the vase by the fountain, he remembered the warmth from her arm at the dinner when the twins went missing.
These memories sustained him, but not so easily. It was a feeling as pure as love, but dispassionate and icily rational.
He had put in time, now they must do the work. His business was simple. Find Cecilia and love her, marry her and live without shame.
The force of his narrative comes from its plot and its magnitude as well as from its richness and structure. McEwan does not need to resort to fragmentation and mysticism to deal with the battle between affection and speech, tolerance and freedom, a clash so in evidence nowadays.
View all 39 comments. I was bored with this until half way through, but then it got interesting. It touches on imagination versus reality, fiction versus fact, in addition to the story content.
A portrait of an upper middle class English family is interrupted by a supposed rape in which a young imaginative vengeful girl misidentifies the rapist.
I found that it stayed with me and that I appreciated it more with time. The film was a magnificent translation. View all 12 comments.
Atonement , Ian McEwan Atonement is a British metafiction novel written by Ian McEwan concerning the understanding of and responding to the need for personal atonement.
Set in three time periods, England, Second World War England and France, and present-day England, it covers an upper-class girl's half-innocent mistake that ruins lives, her adulthood in the shadow of that mistake, and a reflection on the nature of writing.
Abstract: On a summer day in , thirteen-year-old Briony Tallis Atonement , Ian McEwan Atonement is a British metafiction novel written by Ian McEwan concerning the understanding of and responding to the need for personal atonement.
Abstract: On a summer day in , thirteen-year-old Briony Tallis witnesses a moment's flirtation between her older sister, Cecilia, and Robbie Turner, the son of a servant.
But Briony's incomplete grasp of adult motives and her precocious imagination bring about a crime that will change all their lives, a crime whose repercussions "Atonement" follows through the chaos and carnage of World War II and into the close of the twentieth century.
The cost of oblivious daydreaming was always this moment of return, the realignment with what had been before and now seemed a little worse.
In the heat of a s Summer, a family reunites at their country home for what may be the last time. Cousins have come to stay, a sister has returned from University and a brother is returning from America with a new friend in tow.
Briony, the only child left at home, is furiously writing a play to be performed, but what she witnesses-and is exposed to-will force her to make a decision that she will regret for the rest of her life.
This book reminded me strongly of Evelyn Waugh, though I think that's purely based on the surroundings and era and mostly the house. Whilst Evelyn had a whimsical style to his writing, Ian McEwan is positively overflowing with flowery prose that leads nowhere and brings up memories of terrible books they made me read for college.
Atonement is a relatively easy read, if you can take so much description and little plot. None of the characters are anything except a piece of personality and don't go beyond their one trait and I felt nothing for all of them.
They all had their one job and, whilst they did this one job well, that was that and there seemed nothing beyond their doing their one job.
We begin in a wonderful countryside house, which is described to death and the plot simmers along nicely. There's a play being written, and the cousins coming down from the North are being forced to act it out.
There is youthful petulance, coming-of-age rebellion and adults avoiding responsibility and, in truth, the scene is set nicely in the first few pages.
But then this setting of the scene continues for around half the rest of the book and it soon becomes clear that the plot is far away and we're not entirely sure if it'll be seen at all.
Setting the book during the war seemed like a pointless endeavour, if only to include some kind of treacherous battle scenes to add to the overall lack of drama up to this point.
I suppose the book needed to be set somewhere and some time, but the overall affect was unimpressive. I found the whole thing lacking, in truth.
The book, whilst it shifted to another city and even country, was just too small. Everything was cloying and felt like it was happening in one tiny bubble.
I prefer big worlds and big plots, not just a single thread moving through a mire. The main thing that irritated me about this book, is that it was full of needless cliffhangers that were seemingly pointless to anything except to expunge the pathetic attempt at a plot beyond the story arc.
Nearly every chapter ended with something along the lines of "and oh my if this character hadn't done what he's about to do in the next chapter then his life would not have turned out the way it did", as if McEwan is unsure of his plot and needs to plead with us to keep reading.
I must must must read on if you say something interesting is coming along, because so far we haven't had much, have we, Sir?
I feel, having read this book, that I could spot a book I dislike from the first few pages now, whereas before I'd probably have to get through it all just to know.
So, of course, I will now not be wasting more hours on books that seemingly go nowhere, even after the first half, than I need to.
Blog Reviews Instagram Twitter What a lovely reread this was! I first read this novel almost a decade ago, and the story has stayed with me.
The prose is gorgeous, and again I was completely absorbed in this novel. My favorite character is Briony, the young writer seeking atonement for a mistake she made as a child.
And my heart aches for her sister, Cecilia, and her wronged lover, Robbie. I've only read a few of McEwan's books, but I like his writing style so much I want to read more.
Highly recommended. Favorite Quotes "Was e What a lovely reread this was! Favorite Quotes "Was everyone else really as alive as she was?
One could drown in irrelevance. View all 9 comments. This is where a 2. I am extremely ambivalent about this novel--first the pluses: the writing is gorgeous; McEwan has some of the best prose out there.
Every line has meat to it, nothing is throwaway, and every visual is so vivid that the reader is transported to a specific time and place.
Secondly, what everyone praises the novel for , the commentary McEwan is making about the novel itself--the fact that it is written, that characters and plots are manipulated by th This is where a 2.
Secondly, what everyone praises the novel for , the commentary McEwan is making about the novel itself--the fact that it is written, that characters and plots are manipulated by the author, and how a real character emerges eventually while at the same a written story exists too.
This is very difficult to write about without revealing anything about the plot, but as one reads the novel, it becomes clear what McEwan is trying to do.
Finally, the references to other literature including some of the best novels--Clarissa, Lolita--and novelists--Elizabeth Bowen is directly mentioned, Henry Green and Virginia Woolf are obvious influences is fluid, never forced, and is done to showcase a love of literature.
At the same time, there are downsides to McEwan's endeavor--how to write a novel that is commenting on its obvious falsity its construction as fiction , while at the same time trying to convey reality.
This is perhaps an impossible task, and I'm left with the nagging feeling that the novel wants to have its cake and eat it too. The characters and situations are so obviously phony that it becomes distracting in the first part of the story.
I was drawn in by the fantastic writing, but then found myself wanting to hurl the novel across the room at some of the ridiculous choices by both the characters and the novelist.
Namely: 1 The main plot twist makes little realistic sense. Absolutely zero would fly in a mystery novel let alone real life; 2 The characters in the first part are boring aristocrats who we don't care about check out a Henry Green novel; except in his novels, the reader continues to laugh at them, there is no attempt at emotional attachment ; 3 The 'mystery's' solution is obvious to the reader before the crime even happens; 4 Briony part 1 is an insufferable narrator as kid narrators, To Kill a Mockingbird excluded, so often are ; 5 The novelist's choice to name a sexually, precocious teenager 'Lola' too obvious a reference.
But these choices are meant to be ridiculous--reality is only supposed to set in in the epilogue. At the same time, I marveled at how real parts 2 Robbie at war and 3 Briony as a nurse--some of the hospital scenes are the best I've ever read seemed to be.
Then the question became for me--if they seemed real because of the way the scenes were written the gore again in the hospital , but could not have been real because the characters and overall plot of the Tallis family are so fake, isn't that cheating?
I haven't reached a conclusion yet, but something is still bugging me about the conception of it. Ultimately I prefer novels that go the opposite route--Paul Auster's Oracle Night for example--that start out real and quickly become fake, or throw out the idea of a realistic, consistent plot entirely only in the conclusion does David Mitchell's Cloud Atlas come together , rather than the never-ending 'is it real?
View all 8 comments. I feel that perhaps I have sabotaged this book somewhat as I read it directly after finishing Love In the Time of Cholera, and perhaps in retrospect should have read a poetry book or some non-fiction in between.
Clearly anything I would have read after finishing a Masterpiece would pale in comparison but I decided that the critical raves this book had received and high praise from people around me should be enough to encourage me to see it through to the end.
Here is why I found this book lacking I feel that perhaps I have sabotaged this book somewhat as I read it directly after finishing Love In the Time of Cholera, and perhaps in retrospect should have read a poetry book or some non-fiction in between.
Here is why I found this book lacking without giving too much actual plot away to those who would want to read it themselves.
I found all of the characters completely devoid of any true personality or any reason I should care or feel connected to them.
The details described in the book do a lot for physical surroundings but we know nothing of Cecila except she went to college and chain smokes, so I don't particularly care about anything that happens to her, besides the fact that much of her life is lived outside what information the book provides.
Briony is a terrible child, a narcissistic teenager, and and at last a harmless grandmother who I don't especially care about at any of these three points in her life.
The only character with the least bit of humanity seems to be Robbie who is still somewhat confined to his role as the "victim". All the lovely descriptions of ponds and hospital wards and French war-torn villages could not make up for the fact that none of these characters were the slightest bit interesting to me or seemed to connect to anything.
They simply floated through long locational descriptions being powerless to the world around them and unfortunately for me I didn't need pages to get that point.
It could have easily been accomplished as a short story or novella. I just kept feeling that the book had all this great detail but didn't focus it on anything that it shoud have.
I know this may sound exceedingly harsh and once again I do chalk some of this up to reading Atonement directly after a much better novel it had no hope in eclipsing or even paralleling in its structure but I also know how quickly and easily I fall in love with characters.
How quickly I can get pulled into a good story and I sincerely feel that although I wouldn't call this book a complete waste, that my time would have been much better spent elsewhere.
View all 5 comments. Having recently seen and loved the magnificent film adaptation, I decided to reread Atonement , which quite impressed me when it was first published.
And guess what? It was an even more rewarding experience the second time around. Knowing what was coming -- knowing the plot twist at the end -- helped me focus on the quality of the writing rather than on the development of the story, and as always, McEwan's prose completely sucked me in.
He is, quite simply, one of the most talented authors alive, Having recently seen and loved the magnificent film adaptation, I decided to reread Atonement , which quite impressed me when it was first published.
He is, quite simply, one of the most talented authors alive, and he uses his gift to great effect here. I'm not really going to go into the plot here, because the less the first-time reader knows about the book, the better.
Suffice it to say that it is about an imaginative thirteen-year-old who witnesses a few things she doesn't understand, draws the wrong conclusions and ends up ruining the lives of two people near and dear to her.
The first half of the book deals with the event itself and the hours leading up to it; the second half deals with her attempts to, well, deal with it -- atone for it, so to speak.
As always, McEwan excels at setting the scene. His description of a hot summer afternoon in a English country house is lush and sumptuous, his evocation of a young soldier's struggle to reach home after the disastrous battle of Dunkirk is haunting, and his look into the horrors of a war-time London hospital is gruesome in all its detail.
Amazingly, McEwan manages to find beauty even in the most horrific scenes, which is one of the things which set him apart as a writer.
As usual, though, it's the psychological stuff that is really outstanding. McEwan has a knack for taking his readers deep into his characters' minds, letting them share their most intimate, most uncomfortable thoughts and feelings.
Sometimes these thoughts are a little disturbing those of you who have read his earlier works will know what I mean , but usually they have the effect of completely drawing the reader into the story.
The latter is definitely the case in Atonement. By presenting the story from different perspectives and vantage points, McEwan provides the reader with a complete and engrossing view of a life-changing event and its aftermath.
All the different perspectives ring true, and together they tell a marvellous tale of perception, loyalty, anger, secrets, lost love, shame, guilt, obsession with the past and -- yes -- atonement.
And about writing, for more than anything else, Atonement is about the difference between fiction and reality, the power of the imagination and the human urge to write and rewrite history -- to write destiny and play God.
I've heard quite a few people say that they found the first half of the novel too slow and ponderous, wondering why McEwan felt the need to devote nearly two hundred pages to the events of a single day.
Personally, I found that part of the book to be utterly brilliant in its rich, Woolf-like glory. As far as I'm concerned, the atmosphere of the first half is superbly drawn, with each character down to the most minor one being well realised and the tensions and suspense at work almost being made tangible.
For me, it is the second half of the book which has problems albeit minor ones , in that I found the jumps in time and perspective jarring and the otherwise fascinating chapter about Robbie's adventures in France somewhat unreal.
Of course, there are good reasons for the slightly unreal quality of the Dunkirk chapter which the film captured just brilliantly , but still, it didn't quite work for me; it felt a bit out of place.
Thankfully, though, the rest of the book worked just wonderfully for me. Like other McEwan books, it left me with a haunting question -- 'What if?
She is hardly your average thirteen-year-old I think even McEwan would have a hard time coming up with one of those! As a fellow writer, I greatly enjoyed seeing the world through Briony's eyes, and hope her author will live to her old age and write as many good books as he has her doing.
View all 11 comments. Shelves: family-dynamics , irrevocable-lust , human-emotions , coming-of-age , morality , quintessentially-english , human-psyche.
A lesson to us all: never put anything in print that one day might come back to bite you in the ass. Pleasingly, McEwan writes with aplomb about the human psyche: of lust, loathing, immaturity and guilt; his prose is word perfect.
That said, the novel suffers from its own ident A lesson to us all: never put anything in print that one day might come back to bite you in the ass.
That said, the novel suffers from its own identity crisis, a mezze of Jane Austen, followed by a main course of Sebastian Faulks.
The author's genius, though, is in causing us to forget that his book was actually written in the modern day. Very clever!
One of our protagonists, Robbie, puts his lustful thoughts to paper in a way that would merely seem vulgarly juvenile in a modern day text message: Been dreamin bout kissing your cunt, yeah?
But, when inscribed in ink, onto s vellum-finish stationery? Well naturally the 'C' word amps up the shock factor exponentially!
There is no doubt that McEwan is one of Britain's greatest literary gods, his beautiful prose had me purrrring with delight The story, nnnng, grmmmphh!
Oh the story just didn't keep me enthralled. There, I've said it! In addition, I have my own crazy theory that Briony might just be the author's imagined avatar of his younger self.
Yeah, who's crazy now? View all 31 comments. In life, we all make mistakes. Some big, some small, but usually we quickly forget them.
But what happens when you make a mistake that haunts you every day and you can do nothing about it?
This book was fantastic. I loved the writing. I loved the characters. They were so well developed I could feel their emotions in myself as I read.
I was deeply and truly satisfied by the story and the writing. When I closed the book after the last page I felt like I was sitting back after finishing an amazing m In life, we all make mistakes.
When I closed the book after the last page I felt like I was sitting back after finishing an amazing meal. Read this! It is going up on my favorites shelf!
View all 3 comments. I hate it! The problem with Atonement is that there is no atonement, which, of course, is the point. It freaks me out.
I have a really unhealthy fear of it. Especially unjust death. It just pisses me off more than I can explain. Maybe I've just been feeling too poetic lately, listening to too much sensitive-artist music, but I can't stand that Briony kills 2 people and then just conjures them back up from the dead as if it never happened and no one else even mentions it.
I don't want to run out of time, I have things I want to do here, and I don't want to be reminded that the truth is it doesn't matter whether I run out of time or not because eventually there isn't going to be anyone left who ever knew me, or my family, or anyone we ever knew.
I think I need to see it so I can stop thinking about the book. It's waking me up at night, or rather it's waking me up in the morning realizing that I've been thinking about it all night.
I hate it, but it really is good. View all 23 comments. One hot summer afternoon, when cousins and a friend of her older brother Leon's are visiting, a strange series of events will change Briony's life.
She will witness a mysterious scene between her older sister Cecilia and their housekeeper's son, Robbie; her thirteen years old eyes will interpret their interaction and the following events very differently from what actually happened and by the end of that day, nothing will ever be the same… From there on, we follow Robbie and Cecilia's story, as they deal with the consequences of Briony's not-so-innocent mistake, and with the young girl's long and excruciating journey for forgiveness.
I am late on the band-wagon, as usual, and this is my first McEwan novel. And now I am kicking myself for not having checked this book out sooner.
His prose is lush with gorgeous images and sensations - I found myself reading slower than usual to make the pleasure last a little bit longer.
The characterization is amazing, as we get under every character's skin, explore their thoughts, what haunts and motivates them - and it is captivating!
McEwan's mastery of language blew me away, as did his use of symbolism and clever narrative structure. A story about a mistake in judgement could never be told from a single point of view, it has to be explored from many angles, and he handled that with incredible skill.
What Briony does is a thoughtless act motivated by a whirlwind of immature feelings: jealousy, a need for attention, wanting to be taken seriously and feel "worldly", the budding fascination and paradoxical repulsion with sexuality that every young girl experiences I've read many reviews that mention how much they hated her and how petty and selfish she was; have these readers ever met thirteen year old girls?!
They are generally insufferable precisely because they are at that horribly awkward stage of growing up. Being a little girl doesn't work anymore, but no one treats them like adults either, so they are unpredictable and they act out.
I am by no means excusing Briony's spiteful reaction; as the title of the book implies, she will spend the rest of her life paying for her mistake it in guilt and regret.
What I am saying is how realistic I think she is; I didn't like her one bit, but I believed in her completely.
I am not a big love story fan, because I think most people can't write them up in any kind of honest and realistic way.
Most people write about love-at-first sight or obsessive lust and neither of these things are love the way real people experience it, so I avoid books labeled as romances like the plague.
I can count on the fingers of one hand the love stories I actually felt invested in, and Robbie and Cecilia's story is one of them.
This is impressive given the fact that they are each other's first and only love, something I am usually very skeptical of.
I was very moved by their devotion and how they give each other a reason to carry on in some of history's darkest days.
I read the second half of this book with a lump in my throat, wondering what was wrong with me. In the end, I realized that nothing is wrong with me: McEwan is just fucking brilliant.
Cecilia is spoiled, but she turns out to have more character and inner strength than the rest of her family put together.
Her faith in Robbie and her unwavering loyalty to him made her one of the greatest romantic heroines I've encountered in literature.
As for Robbie, I couldn't help but admire his pride, his resilience and his fair-mindedness. For someone with such a bright and promising future to be disgraced and ruined the way he is would be tragic in and of itself, but the dignity with which he keeps moving and never gives up on his ultimate goal to "live without shame": what a line!
The ending made a lot of people angry, apparently, but I loved it. It made the heartbreaking parts of the story even more crushing and while we see that Briony can never really make peace with herself, she gave peace back to those she hurt the only way she could figure out how.
I found that incredibly moving. Writing is a form of therapy to many writers: it's a way to talk about the things that linger on your mind without really talking about them exorcise demons, right wrongs and create a better world.
This novel made me want to start writing again. This was a wonderful and rewarding read, a rich mix of Austen, Forster, Waugh and Woolf, and I loved every word of it so much more than I could have anticipated.
I saw the movie, and while I often can't stand the sight of Keira Knightley, I do think that she was a perfect Cecilia, and that the movie was a flawless adaptation that perfectly captured the tone of McEwan's writing.
What a strange and powerful novel, one that begins its story with a quote from Jane Austen's Northanger Abby.
Because Ms. Austen was the master of comparing the controlled, domestic world of the home with that of the chaotic, spontaneous world of the outside, the unknown.
Mirroring this idea, the self-centered year-old Briony Tallis wonders early in McEwan's story, "Was that really all there was in life, indoors or out?
Oh, except one more thing. The reality and the mask. The private and the public. Who we are, versus who people think we are. Oops, and one more thing.
Life is about the world within and the world without, confusion regarding the perceived "safety" of home and the "threat" of the outside world, and the dangerous assumptions we can make about people and their potentially devastating outcomes.
And what's war? Well, you know that already. War is hell. But isn't it also the biggest metaphor for the "outside world" and all of its worries?
Doesn't war also serve to remind you that you're not always safe in your home? Of course! It can threaten your domesticity, render you homeless, and cause you to desire, above all else, the safe return to home.
Ah, home sweet home. But what about that bad stuff that sometimes goes on upstairs with bad people that you thought were good?
And how often are our perspectives aligned with the truth? Black sheep and white lies Colour idioms, part 2. Definitions Clear explanations of natural written and spoken English.
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The sentence contains offensive content. Cancel Submit. Your feedback will be reviewed. Translation of Abbitte — German—English dictionary.
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