Jess Walter

Beautiful Ruins

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The acclaimed, award-winning author of the national bestseller The Financial Lives of the Poets returns with his  funniest, most romantic, and most purely enjoyable novel yet: the story of an almost-love affair that begins on the Italian coast in 1962 . . . and is rekindled in Hollywood fifty years later.  
“Why mince words? Beautiful Ruins is an absolute masterpiece.” —Richard Russo
“A ridiculously talented writer.” —New York Times
Denne bog er ikke tilgængelig i øjeblikket
442 trykte sider
Udgivelsesår
2012
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👍👎

Vurderinger

  • sandisiwenonghar delt en vurderingfor 9 år siden
    💞Superromantisk

    Love the story

  • Iamazhahar delt en vurderingfor 4 år siden
    💞Superromantisk

    It is a really good book. Love is a expression that everyone needs.I am glad that I found this book.

  • b2060880335har delt en vurderingfor 6 år siden
    👍Værd at læse
    🔮Overraskende
    🎯Læseværdig
    💞Superromantisk
    🚀Opslugende

    High quality reading. Makes you to savour the story, appreciate people you share life with, and enjoy the language and structure. Deserves to be called a masterpiece.

Citater

  • Adreannah Vetehar citeretfor 6 år siden
    There would seem to be nothing more obvious,
    more tangible and palpable than the present moment.
    And yet it eludes us completely.
    All the sadness of life lies in that fact.
    —Milan Kundera
  • Adreannah Vetehar citeretfor 6 år siden
    This is a love story, Michael Deane says.
    But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk, just as the
  • Adreannah Vetehar citeretfor 6 år siden
    Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ’roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke loves Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the mafioso loves, too—eating and money and Paulie and omertà—the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.
    And in the room, the Dutch financiers with the forty mil to kill wait for Michael Deane to elaborate, but he just sits with his index fingers steepled in front of his mouth. A love story. He’ll speak when he’s ready. This is his room, after all; he’s only sorry he won’t be able to attend his own funeral, because he’d leave that fucking room with a deal for a network pilot and a reality show set in hell. After the Donner! pitch (for thirty grand, that kid really sold it), Michael got out of his constraining deal with the studio. Now he’s producing on his own again—six unscripted shows already in some stage of production—surviving the post-studio world just fine, thank you, raking in more money than he ever thought pos

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