Synopsis
By Emmanuel Carrere ; John Lambert ( Author ) [ Limonov: The Outrageous Adventures of the Radical Soviet Poet Who Became a Bum in New York, a Sensation in France, and a Politi By Oct-2014 Hardcover
Revue de presse
He's the best kind of writer, not just a bestseller but a man who is not afraid to leave the comfort zone of his desk, go out into the world, take risks, and get his shoes dirty ... His "non-fiction novel", Limonov, has two explicit modes - part adventure story, part cultural-historical analysis ... it is about Carrère's exploration of himself, his Russian heritage, and what it means to be a European after the second world war, especially since the end of the cold war (Robert McCrum Observer)
To risk a rather devalued word, stunning (John Updike The New Yorker)
To paraphrase Calvino, Emmanuel Carrèrre's Limonov is a book about two things: Limonov, and everything else ... This virtuosically unclassifiable thing is somehow at once the liveliest of novels, the most illuminating of biographies, and the most consequential of philosophical inquiries - a loopy, hilarious, gut-punching quest after the shifting spirits of war, loyalty, discipline, pity, empathy, scorn, vitality, honor, ego, and, above all, the heroism of decency. (Gideon Lewis-Kraus (author of A Sense of Direction))
A beguiling writer . . . Graceful and important (John Freeman NPR)
Russia, they say, cannot be understood with the mind alone, and neither can her looniest son to date, Edichka Limonov. It also takes a heart, a spleen, a liver and this beautiful book by France's greatest writer, Emmanuel Carrère. Get ready for the last real adventure of the 20th Century! (Gary Shteyngart (author of Little Failure))
In this lucid, rigorous, deeply researched novelistic biography, Carrère reveals a multifaceted, unconventional, and fascinating anti-hero to the reader ... Limonov is as much a mystery as Russia itself, that complex, violent, desperate country that Carrère reconstructs in a powerful historical sketch (Bendetta Marietti La Repubblica)
With Limonov, Emmanuel Carrère abandons fiction without giving up on magic ... The author is present as narrator, and so Emmanuel Carrère himself becomes a character in this book. It was the American Tom Wolfe, at the beginning of the sixties, who coined the term 'new journalism' for methods not altogether new. With In Cold Blood, Truman Capote proved himself a master of the genre. And Emmanuel Carrère's Limonov proves he is too. You read this all in one breath (Bernardo Valli La Repubblica)
Carrère covers a lot of ground with cool honesty and careful humanity (Sally Singer The New York Times (A Favorite Book of the Year))
An experimental combination: part politico-historical exegesis of half a century - and more - of Russian history, part modern and compelling adventure novel. Limonov is the portrait of a Soviet, then Russian, man at once exceptional and deplorable; it's the story of some potential outcomes in the clash between history and the individual, of the effects that a century of totalitarian ideals have wrought on the human body ... Carrère doesn't hide even before the most troubling episodes ... he suspends judgment, takes a step back, begins again. We want to understand, with him, now that we're reading this faithful and precise account of one of Russia's dissident delinquents of the recent past, what these lives that are not our own are like (Michele de Mieri Il sole 24 ore)
There are few great writers in France today, and Emmanuel Carrère is one of them ( Paris Review)
This is an extraordinary, fantastic book about an extraordinary, fantastic life. It's billed as a novel, can be read as a novel and would be a good novel if Eduard Limonov had never existed. But he does . . . you will learn an awful lot about Russia now and in the days of the Soviets (Allan Massie The Scotsman)
You might not have heard of [Limonov], and after you have read this you might wish you had not heard of him, but you will certainly have enjoyed reading about his life, thanks to the verve of Emmanuel Carrere's exhilarating narration. You will probably also understand considerably more about the country that produced such a narcissistic and controversial figure, whom the author finds alluring and repellent in equal measure . . . Carrere has seized on Limonov's projection of himself as a literary hero (or anti-hero) straight out of the pages of Dostoyevsky, Celine, or Henry Miller, and run with it (Rosamund Bartlett Independent)
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