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by Michael Ondaatje
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    Michael Ondaatje
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    Bloomsbury Publishing PLC; First Edition edition (January 1, 2008)
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Divisadero is a novel by Michael Ondaatje, first published on April 17, 2007 by McClelland and Stewart.

Divisadero is a novel by Michael Ondaatje, first published on April 17, 2007 by McClelland and Stewart. The novel centres on a single father and his children: Anna, his natural daughter; Claire, who was adopted as a baby when Anna was born; and Cooper (Coop), who was taken in "to stay and work on the farm" at the age of four when orphaned. The family lives on a farm in Northern California where Anna and Claire are treated almost as twins, while Cooper is treated more as "a hired hand".

There was a book, not much more than a pamphlet with a white spine, I found high on a shelf in the mudroom of the farm. Interviews with Californios: Women from Early Times to the Present. Lydia Mendez was our mother.

FREE shipping on qualifying offers. From the celebrated author of The English Patient and In the Skin of a Lion comes a remarkable new novel of intersecting lives that ranges across continents and time. In the 1970s in Northern California.

I come from Divisadero Street, Anna tells us in Michael Ondaatje’s fifth novel. Divisadero, from the Spanish word for ‘division,’ the street that at one time was the dividing line between San Francisco and the fields of the Presidio

I come from Divisadero Street, Anna tells us in Michael Ondaatje’s fifth novel. Divisadero, from the Spanish word for ‘division,’ the street that at one time was the dividing line between San Francisco and the fields of the Presidio. Or it might derive from the word divisar, meaning ‘to gaze at something from a distance. This claim about Anna’s origins, which arrives midway through Ondaatje’s restless book, we know to be false

Contact Michael Ondaatje on Messenger.

US CONTACT: Vintage Books, 1745 Broadway, New York, NY 10019. Contact Michael Ondaatje on Messenger. See actions taken by the people who manage and post content. Page created - January 11, 2011.

Divisadero by Michael Ondaatje 288pp, Bloomsbury, £1. 9

Divisadero by Michael Ondaatje 288pp, Bloomsbury, £1. 9. In his poem "Buried", Michael Ondaatje described an enormous, buried stone Buddha; ancient tree roots creep down, form across the entombed face and, when the statue is finally excavated and lovingly removed, the mass of living tree roots are a perfect cast which retain and echo the serene Buddha's absent visage. Ondaatje's novels are always a worldly, calm but labyrinthine seeking of correspondences; they use the scaffolding of conventional narrative and then kick all support away to discover what can stand alone and what is manifested in new form.

Divisadero takes us from the city of San Francisco to the raucous backrooms of Nevada’s casinos and eventually to the landscape of south-central France. It is Michael Ondaatje’s most intimate and beautiful novel to date. Отзывы - Написать отзыв. It is here, outside a small rural village, that Anna becomes immersed in the life and the world of a writer from an earlier time-Lucien Segura. His compelling story, which has its beginnings at the turn of the century, circles around the raw truth of Anna’s own life, the one she’s left behind but can never truly leave.

Электронная книга "Divisadero", Michael Ondaatje Divisadero takes us from San Francisco to the raucous backrooms of Nevada's casinos and eventually to the landscape of southern France.

Электронная книга "Divisadero", Michael Ondaatje. Эту книгу можно прочитать в Google Play Книгах на компьютере, а также на устройствах Android и iOS. Выделяйте текст, добавляйте закладки и делайте заметки, скачав книгу "Divisadero" для чтения в офлайн-режиме. Divisadero takes us from San Francisco to the raucous backrooms of Nevada's casinos and eventually to the landscape of southern France. As the narrative moves back and forth through time and place, we find each of the characters trying to find some foothold in a present shadowed by the past. Другие книги автора Michael Ondaatje. Ещё. Warlight: A novel.

Written in the sensuous prose for which Michael Ondaatje's fiction is celebrated, Divisadero is the work of a master story-teller. Read on the Scribd mobile app.

Read unlimited books and audiobooks on the web, iPad, iPhone and Android. Written in the sensuous prose for which Michael Ondaatje's fiction is celebrated, Divisadero is the work of a master story-teller. Download the free Scribd mobile app to read anytime, anywhere. Publisher: Bloomsbury PublishingReleased: Dec 13, 2010ISBN: 9781408821077Format: book. carousel previous carousel next. Coming Through Slaughter. Author Michael Ondaatje.

This book was our book group selection for the discussion on April 13, 2014. Not everyone enjoyed the book. Some were very disappointed in the organization of the book since it did not seem to have a normal follow up of the main characters but instead, essentially left you hanging. It also seemed to be several books not quite tightly tied together. Even the continuous trail of the characters was divided by events and the life afterwards seemed barely connected to the previous. But this is after all what the title is all about. It names not only a road that divides San Francisco from the Presidio but also a point where a person can see far off. There is also the interesting possibility that a reader can view the similarities and dissimilarities between the characters as marks of division as well, as if they reflect the difference decision points can make it the outcomes of a person's life. Some characters do similar things over and over again. Coop gets the same result for the same offence twice and rescued both times by the same person despite the odds of this happening. What many did find great about the book were lines that seemed especially beautiful and thought provoking. The language is skillfully done. The literary references when you caught them ran throughout. Note the color blue for example. So while some may not have enjoyed the book itself looking for more normal novel fare, the discussion about it was great and as usual we all learned more about it than any one reading of it could have achieved on its own. Book groups. A really great way to read.
Ondaatje is a bit of an acquired taste. I enjoyed Divisadero well enough. There are long stretches where it's a pretty fascinating read. But he jumps around from character to character--and also forward and back in time. See his "Anil's Ghost". His novels are sort of like a car that's fun to drive around the block---or maybe even across town. But you wouldn't want to take a long road trip in one.
Michael Ondaatje is a poet, and even as a novelist he writes as one. I don't mean simply his mastery of the English language; that is a given. At times, he is almost Olympian, as when describing the metamorphosis of a marriage: "There would be years of compatibility, and then bitterness, and who knew when that line was traversed, on what night, at what hour. Over what betrayal. They slipped over this as over a faint rise in the road, like a small vessel crossing the equator unaware, so that in fact their whole universe was now upside down." But he can switch effortlessly to the here and now, describing a fight in a thunderstorm, or a poker game in a casino, with an immediacy that makes the writing almost invisible. He can conjure up images that fix themselves indelibly on the cinema of the mind (or on the big screen, as anybody who has seen the movie of THE ENGLISH PATIENT will know); my favorite is a two-page description of a gypsy boy and his horse caught in a total eclipse in the South of France. One sentence must suffice: "Grey rain started falling in the half-light, though it was the wind that bewildered everything, arcing the trees down so they hovered almost parallel to the ground."

Ondaatje cannot describe what happens without also evoking how it feels. But he seldom attempts to describe a feeling directly. Rather, he creates something else to stand beside it, illuminating it by association, from the side rather than full on. A simple example is the consummation of the marriage between a French peasant, Roman, and his very young bride. He goes out in the moonlight to wash in the rain barrel outside the cottage door; after a while, she follows him and washes also. "After that she turned and put her arms out along the thick rim of the barrel where in the water was the moon and the ghost of her face. Roman moved against her, and in the next while, whatever surprise there was, whatever pain, there was also the frantic moon in front of her shifting and breaking into pieces in the water." In terms of narrative, Ondaatje could have set this scene anywhere, or omitted it entirely; but in terms of its place in the emotional balance of the whole novel, nothing else would have been so powerful or so evocative. Images of this kind, based on imagination rather than logic, are the essence of Ondaatje's poetic sensibility.

What of the story? The back-cover blurb is true as far as it goes: "In the 1970s in Northern California a father and his teenage daughters, Anna and Claire, work their farm with the help of Coop, an enigmatic young man who makes his home with them. Theirs is a makeshift family, until it is shattered by an incident of violence that sets fire to the rest of their lives. . . . As the narrative moves back and forth through time and place, we find each of these characters trying to gain some foothold in a present shadowed by the past." After the violent beginning (whose nature I shall not reveal), the story moves forward several decades, though with frequent flashbacks. Coop, private and principled and extremely likeable, has unexpectedly become a professional gambler. Claire is a legal aide in San Francisco; her path will eventually re-cross his, bringing about a sort of partial ending two-thirds of the way through the book. Anna has become an author under a different name, writing biographies (or biographical novels; it is never quite clear) about minor French literary figures. Currently, she is working on a poet called Lucien Segura, and staying in the house where he spent his last years; these scenes in a remote part of Southern France make a wonderful contrast to those in California and Nevada.

But just where you might expect Ondaatje to pull everything together, he drops Coop, Claire, and Anna almost entirely, and starts a new set of stories about Segura's younger years, his loves and marriage, his experiences in the First World War, and the gypsy family he befriends when he buries himself in his last retreat. The whole texture of the book changes. These are engaging vignettes, created in short chapters, poetical and imagistic rather than factual, and this reader was soon swept up in them as though by a new novel. Indeed, I found that I couldn't stop reading once this section had started, partly out of sheer affection for the characters and delight in the writing, but partly to discover how Ondaatje would finally tie the two parts of the book together. Somewhere along the line, I began to realize that he wouldn't -- except in the sense that Segura's story was essentially being told (or perhaps invented) by Anna, in much the same way that the story of the two lovers in Ian McEwan's ATONEMENT is extended in the writing of the younger sister Briony. So far from this being a single sweeping canvas, as the cover suggests, it is constructed as a diptych: two separate panels (Ondaatje himself uses this image, in a different context) that enter into a dialogue with each other rather than connecting directly.

DIVISADERO? There is a street of that name in San Francisco, where Anna apparently lived for a while, but the novel does not take place there. The sense of the word as "division" or "break" is obviously appropriate for this family parted by passion and scattered through space. But Anna points out that the word may also derive from the Spanish "divisar," to look at something from a distance. By the end of the book, Anna is indeed looking on from a distance, exploring her life in art, as Nietzsche once said, so as not to be destroyed by the truth. This is essentially what any great novelist does, and with it Ondaatje invites the reader into the heart of his craft. Yet he gives us an even greater gift; by avoiding literal connections between his two stories, but instead inspiring our imagination and trusting us to find our own parallels, he gets us not only to read his words as a poet, but to think and feel as poets in ourselves.
From one of the greatest living authors on the planet, 'Divisadero' rates close to his best, 'In the Skin of A Lion'. Ondaatje has an ability bettered by no other to get into the skin of his characters and under the skin of any reader fortunate enough to enter his world of the extraordinary fashioned from the not so ordinary. Emotion and texture, words as the carrier, are his tools, and have no doubt he is a master.
Disaster throws a boy, Coop, into the hard life of a rural family, a father with twin girls, in 70s California, a world that feels more like early Cormac McCarthy than Frisco's Haight-Ashbury. A kind of romance, a tenderness of dispossession, causes a terrible incident and their lives are split asunder. One sister becomes a librarian and tunnels into the life of a 19th C French writer's fragmented life, Coop becomes a small time pro gambler run foul of a syndicate, the other twin (perhaps) a pawn in their game of entrapment. What comes haphazardly together again reveals the damaged destinies of family, of the twin hearts, of history, chance, and the ties that blind.
Had to force myself to finish this for book group. It is really two separate stories, or books. You read one "book" about a person, then that one is left hanging and you're on to the next. Some characters, you never found out what eventually became of them. So annoying, because Ondaatje can certainly write, and the reader starts off feeling quite engaged with these people. A great disappointment.