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Jazz Paperback – 14 May 1993
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- Print length240 pages
- LanguageEnglish
- PublisherPicador
- Publication date14 May 1993
- ISBN-10033032294X
- ISBN-13978-0330322942
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About the Author
Product details
- Publisher : Picador
- Publication date : 14 May 1993
- Edition : New
- Language : English
- Print length : 240 pages
- ISBN-10 : 033032294X
- ISBN-13 : 978-0330322942
- Item weight : 165 g
- Best Sellers Rank: 3,002 in Contemporary Literature & Fiction
- 4,727 in Literary Fiction (Books)
- 28,783 in Genre Fiction (Books)
- Customer Reviews:
About the authors
Toni Morrison was awarded the Nobel Prize for Literature in 1993. She is the author of several novels, including The Bluest Eye, Beloved (made into a major film), and Love. She has received the National Book Critics Circle Award and a Pulitzer Prize. She is the Robert F. Goheen Professor at Princeton University.
Discover more of the author’s books, see similar authors, read book recommendations and more.
Customer reviews
Top reviews from Australia
Top reviews from other countries
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Cliente AmazonReviewed in Spain on 4 August 2019
4.0 out of 5 stars Muy bueno
Verified PurchaseMe ha gustado mucho la historia. El papel es de dudosa calidad
- destinazione_libro (Pagina Instagram)Reviewed in Italy on 9 February 2013
5.0 out of 5 stars Wonderfully written and moving
Verified PurchaseWritten by Nobel Prize winner Toni Morrison, "Jazz" is just like the music it tries to imitate: it goes up and down, backwards and forwards, taking the reader through the myths and the lives of at least three generations of Black Americans, each one with his/her own amazing story, starting with their meaningful names. And just like jazz, this novel never stops taking the reader aback, spinning a web of intricated relationships and meanings, defying him/her to guess its tune before it starts another one.
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SHReviewed in Germany on 14 April 2018
5.0 out of 5 stars Mit dem Roman gerungen
Verified PurchaseJazz ist nicht nur der wohl komplexeste Roman Morrisons, sondern wohl einer der komplexesten überhaupt. Die relativ einfache Geschichte (New York der Zwanzigerjahre, ein Mann ersticht seine jüngere Geliebte, die Frau attackiert auf der Beerdigung die Tote mit dem Messer) wird in den insgesamt 10 Kapiteln von immer neuen Seiten angepackt und aufgerollt. Jedes Kapitel wird von (grob gerechnet) einer Stimmen dominiert, wobei all das durch eine Icherzählerin gefiltert wird, die über 90 % des Buches wie eine auktoriale Erzählerin agiert. Der Alltag der Figuren unmittelbar vor Mord und Beerdigung wird ebenso aufgearbeitet wie Kindheit und Jugend im tiefen Süden, einige Familienmitglieder, deren Leben dann sozusagen als Rede dritter Ordnung (X erzählt, XY habe erzählt) wiedergegeben wird, erweitern den Fokus des Romans noch einmal bis in die Jahre vor dem amerikanischen Bürgerkrieg. Das ist hochambitioniert, und der Roman ist sauber auskomponiert: die ersten drei oder vier Kapitel entfalten sich als Fortsetzungen eines einzelnen Gedankens (Sht, I know that woman… / Or used to … / Like that day in July, when…), in späteren wird jeweils aus neuer Perspektive eine Idee oder ein Eindruck vom Schluss des vorangegangenen Kapitels wieder aufgegriffen.
Damit habe ich mir anfangs nicht leicht getan: Was Jazz im Gegensatz zu anderen modernen Romanen so schwer verdaulich macht ist der scharfe Kontrast zwischen der relativ traditionellen mündlichen Erzählweise und der hektischen Großstadtszenerie - das scheint sich zu Beißen. Allerdings hat der Kontrast seine Berechtigung. Man muss bedenken, dass die meisten Städter Neuankömmlinge der sogenannten „Great Migration“ sind. Menschen, deren Vorfahren unter Sklaverei, und die selbst unter andauernder Diskriminierung leidend, vor allem auch ihre orale Tradition hatten, die weitergegebenen Geschichten, um sich eine Identität zu wahren/aufzubauen. Da ist die Polarität von Jazz zwischen polyphonem Großstadtroman und mündlicher Erzählung durchaus folgerichtig. Schwer zu verdauen ist das Ganze dennoch.
Jazz führt seine Welt in konsequenter weise sprachlich-strukturell durch. Da mag es auch konsequent sein, dass der Text bis in den Satzbau hinein immer wieder regelrecht deprimiert, mit dieser bluesig gedrückten Erzählhaltung… es bleibt aber phasenweise schwer, das zu „genießen“ (kein Wunder…) wie das bei den anderen genannten Texten durchaus geht. Das darf man natürlich auch zum Besten Morrisons auslegen. Man kann sich von Jazz nicht überspülen lassen, der Roman zwingt in jedem Sinne zu einer starken Reaktion und zu Engagement mit dem Text. Ich sehe nach gewissem Ringen in Jazz eine herausragende sprachliche und kompositorische Arbeit, die brutal schwer im Magen liegt.