Red Dress in Black and White
A novel
(Sprache: Englisch)
From the widely acclaimed author of Waiting for Eden: a stirring, timely new novel that unfolds in Istanbul over the course of a single day, when an American woman attempts to leave behind her life in Turkey--and her marriage.
Catherine has been...
Catherine has been...
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From the widely acclaimed author of Waiting for Eden: a stirring, timely new novel that unfolds in Istanbul over the course of a single day, when an American woman attempts to leave behind her life in Turkey--and her marriage.Catherine has been married for many years to Murat, an influential Turkish real estate developer, and they have a young son, William. But when she decides to return home to the United States with William and her lover, Peter, Murat takes a stand. He enlists the help of an American diplomat to prevent them from going--and, in so doing, becomes further enmeshed in a web of deception and corruption. As the hidden architecture of these relationships is gradually exposed, we move to the heart of intersecting worlds populated by struggling artists, wealthy businessmen, expats, spies. And, at the center, a child torn between his parents. Riveting and perceptive, Red Dress in Black and White is a novel of personal and political intrigue, a portrait of a nation on the brink.
Lese-Probe zu „Red Dress in Black and White “
That evening, at half past nineTo William, the question of his mother is clear. The question of his father is more complicated, because there is Peter.
The night that they meet, William is about seven years old and his mother has brought him to one of Peter s exhibits. She hasn t said much to her son, just that she has an American friend, that he takes pictures and that the two of them are going to see that friend s art, which is very special. That s what she always calls it, his art.
His mother doesn t drive, at least not in this city, and in the taxi on the way there she keeps looking at her wristwatch. It isn t that they are late, but that she s anxious to arrive at the right time, which is not to say right on time. The apartment she s trying to find is off stiklal Caddesi, which is a sort of Ottoman Gran Rue running through the heart of Istanbul, the place of William s birth but a home-in-exile to his mother, who, like her friend Peter, is American. As their cab crawls along Cevdet Pa a Caddesi, the seaside road which handrails the Bosphorus Strait, she stares out the window, her eyes brushed with a bluish cosmetic, blinking slowly, while she absently answers the boy s questions about where they are going and whom they ll meet there. William holds a game called Simon on his lap. It is a palm-size disk divided into four colored panels blue, red, green, yellow that flashes increasingly complicated patterns, which reflect off the cab s night-darkened windows. The aim is to repeat those patterns. It was a gift from his father and his father has the high score, which he has instructed William to try to beat.
An allée of birch canopies their route and they skirt the high lime-stone walls of Dolmabahçe Palace. Their cab jostles in and out of first gear in the suffocating traffic until they break from the seaside road and switchback into altitudes of linden-, oak- and elm-forested hills. When the sun dips behind the hills,
... mehr
the lights come on in the city. Below them the waters of the Bosphorus, cold and pulling, turn from green-blue to just black. The boat lights, the bridge lights, the black-white contrast of the skyline reflecting off the water would come to remind the boy of Peter and, as his mother termed it, his art.
After paying the fare, his mother takes him by the hand, dragging him along as they shoulder through the evening foot traffic trying to find their way. Despite the darkness eternal day lingers along the stiklal, flightless pigeons hobble along the neon-lit boulevard, chestnuts smolder from the red-painted pushcarts on the street corners, the doughy smell of baked açma and simit hangs in the air. The stiklal is cobblestone, she has worn heels for the occasion, and when she catches one in the grouting and stumbles into the crowd, she knocks a shopping bag out of another woman s hand. Standing from her knees, William s mother repeatedly apologizes and a few men reach under her arms to help her up, but her son quickly waves them away and helps his mother up himself. After that the two of them walk more slowly and she still holds his arm, but now she isn t dragging her son, and when the boy feels her lose balance once more, he grabs her tightly at the elbow and with the help of his steady grip she manages to keep on her feet.
They turn down a quiet side street, which aside from a few shuttered kiosks has little to recommend it. The apartment building they come to isn t much wider than its door. After they press the buzzer, a window opens several floors above. A man ducks his head into the bracing night and calls down to them in a high-pitched yet forceful voice, like air through a steel pinhole. He then blows them an invisible kiss, launching it off an open palm. William s
After paying the fare, his mother takes him by the hand, dragging him along as they shoulder through the evening foot traffic trying to find their way. Despite the darkness eternal day lingers along the stiklal, flightless pigeons hobble along the neon-lit boulevard, chestnuts smolder from the red-painted pushcarts on the street corners, the doughy smell of baked açma and simit hangs in the air. The stiklal is cobblestone, she has worn heels for the occasion, and when she catches one in the grouting and stumbles into the crowd, she knocks a shopping bag out of another woman s hand. Standing from her knees, William s mother repeatedly apologizes and a few men reach under her arms to help her up, but her son quickly waves them away and helps his mother up himself. After that the two of them walk more slowly and she still holds his arm, but now she isn t dragging her son, and when the boy feels her lose balance once more, he grabs her tightly at the elbow and with the help of his steady grip she manages to keep on her feet.
They turn down a quiet side street, which aside from a few shuttered kiosks has little to recommend it. The apartment building they come to isn t much wider than its door. After they press the buzzer, a window opens several floors above. A man ducks his head into the bracing night and calls down to them in a high-pitched yet forceful voice, like air through a steel pinhole. He then blows them an invisible kiss, launching it off an open palm. William s
... weniger
Autoren-Porträt von Elliot Ackerman
ELLIOT ACKERMAN is a National Book Award finalist, author of the novels Waiting for Eden, Dark at the Crossing, and Green on Blue, and of the nonfiction book Places and Names. His work has appeared in Esquire, The New Yorker, The Atlantic, The New York Times Magazine, and The Best American Short Stories, among other publications. He is both a former White House Fellow and a Marine, and he served five tours of duty in Iraq and Afghanistan, where he received the Silver Star, the Bronze Star for Valor, and the Purple Heart. He divides his time between New York City and Washington, D.C.
Bibliographische Angaben
- Autor: Elliot Ackerman
- 2021, International, 336 Seiten, Masse: 13,4 x 20,3 cm, Kartoniert (TB), Englisch
- Verlag: VINTAGE
- ISBN-10: 0525563474
- ISBN-13: 9780525563471
- Erscheinungsdatum: 19.04.2021
Sprache:
Englisch
Pressezitat
Cunning, atmospheric and filled with surprises in ways that call to mind the fiction of Joseph Conrad and John le Carré. Partly an ethical Rorschach test and partly a thriller in the vein of The Year of Living Dangerously, it s the best novel yet from Ackerman . . . It s also a ton of tangled fun . . . Splendidly gnarly. Seattle Times Shrewd, intricately plotted, propulsive . . . Ackerman has been compared with Hemingway, for the clarity of his prose and his international settings. And there s something of Graham Greene, too. Washington Post
Having worked so impressively at overturning the conventions of war fiction, Ackerman has now written a novel without a single soldier in it . . . He s decided on a different sort of drama, a territory of intrigue and tricks, entirely absorbing, with other sources of suspense . . . Ackerman s rich knowledge of Turkey is evident on every page. New York Times Book Review
At once suspenseful and delicate, Red Dress in Black and White deftly depicts love in a brutal time. Elle.com
Full of political intrigue, extramarital affairs, and unfulfilled ambition. The Millions
The whole book is taut, balanced between order and chaos, just like Istanbul in that summer of 2013. Associated Press
This absolutely riveting novel moves rapidly . . . An attention-grabbing, cleverly plotted, character-driven yarn . . . In Agatha Christie fashion, Ackerman gathers his characters for what appears to be the grand finale but saves the true reveal for the very end. Library Journal (starred)
Ackerman s trademark prose evocatively captures the strained nature of contemporary Turkish life . . . Deftly hints at a shadowy world that exists just out of frame and is one that lives long in the memory. Booklist
Deftly
... mehr
plotted. Kirkus Reviews
Red Dress in Black and White asks thought-provoking questions about the place of power both in love and in politics. For those who witnessed it, it is impossible to forget Gezi; same goes for this book. Özgür Mumcu, columnist for Cumhuriyet and best-selling author of Peace Machine
Remarkable . . . Mesmerizing . . . The story may be a tragedy, but reads like a finely layered mystery . . . At the end is the sort of revelatory surprise reminiscent of M. Night Shyamalan s film The Sixth Sense . . . The more I contemplate this work, the more I get the sense that I could spend a year unpacking its intricacies and still not be finished . . . If his newest offering is indicative of what is to come, we have, in Ackerman, an emerging master of the form. John R. Coats, Consequence Magazine
Formidable . . . Ackerman precisely traverses a labyrinth of privilege, manipulation, complicity, crisis, to offer readers a crucial, immersive novel of indelible resonance. Terry Hong, Shelf Awareness (starred)
Ackerman has long since established himself as the warrior-poet of modern American interventionism. He is a master of painfully intimate portraits of despair, and his words have the authority, and often the weariness, of lived experience . . . Ackerman weaves his tale together gradually, layering in the revealing details, tightening the screws to press against the fragility of each character s tenuous circumstance . . . His intimate knowledge [of Istanbul] shines through, making that schizophrenic city with one foot in Europe, the other in Asia one of the most compelling portraits the author paints. Jennifer Bort Yacovissi, Washington Independent Review of Books
The complications of parenthood make for rich novelistic themes. Elliot Ackerman mines them judiciously in his new novel . . . The novel s sections alternate kaleidoscopically between past and present, with prose that is spare and vivid . . . Kristin s personal motives are masterfully revealed in the end, lending her a depth that a mere CIA operative would otherwise lack. Eve Ottenberg, Washington City Paper
Tim O Brien and Elliot Ackerman are connected as great writers whose writing has been influenced by their time in fields of fire . . . What elevates Red Dress in Black and White is Ackerman s writing. Drew Gallagher, Fredericksburg Freelance-Star
Red Dress in Black and White asks thought-provoking questions about the place of power both in love and in politics. For those who witnessed it, it is impossible to forget Gezi; same goes for this book. Özgür Mumcu, columnist for Cumhuriyet and best-selling author of Peace Machine
Remarkable . . . Mesmerizing . . . The story may be a tragedy, but reads like a finely layered mystery . . . At the end is the sort of revelatory surprise reminiscent of M. Night Shyamalan s film The Sixth Sense . . . The more I contemplate this work, the more I get the sense that I could spend a year unpacking its intricacies and still not be finished . . . If his newest offering is indicative of what is to come, we have, in Ackerman, an emerging master of the form. John R. Coats, Consequence Magazine
Formidable . . . Ackerman precisely traverses a labyrinth of privilege, manipulation, complicity, crisis, to offer readers a crucial, immersive novel of indelible resonance. Terry Hong, Shelf Awareness (starred)
Ackerman has long since established himself as the warrior-poet of modern American interventionism. He is a master of painfully intimate portraits of despair, and his words have the authority, and often the weariness, of lived experience . . . Ackerman weaves his tale together gradually, layering in the revealing details, tightening the screws to press against the fragility of each character s tenuous circumstance . . . His intimate knowledge [of Istanbul] shines through, making that schizophrenic city with one foot in Europe, the other in Asia one of the most compelling portraits the author paints. Jennifer Bort Yacovissi, Washington Independent Review of Books
The complications of parenthood make for rich novelistic themes. Elliot Ackerman mines them judiciously in his new novel . . . The novel s sections alternate kaleidoscopically between past and present, with prose that is spare and vivid . . . Kristin s personal motives are masterfully revealed in the end, lending her a depth that a mere CIA operative would otherwise lack. Eve Ottenberg, Washington City Paper
Tim O Brien and Elliot Ackerman are connected as great writers whose writing has been influenced by their time in fields of fire . . . What elevates Red Dress in Black and White is Ackerman s writing. Drew Gallagher, Fredericksburg Freelance-Star
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