Revue de presse:
"Brilliant...Tóibín's accomplishment here is to render myth plausible while at the same time preserving its high drama... gripping... The selfish side of human nature is... made tangible and graphic in Tóibín's lush prose." (Booklist, STARRED review)
"Clytemnsestra, narrating in the first person, is a captivating and terrifying figure, heartbroken and ruthless in her lust for power... Tóibín captures the way that corruption breeds resentment and how resentment almost unstoppably breeds violence. The original myths established these characters as the gods' playthings, but Tóibín reframes this version in a 'time when the gods are fading' the besster to lay the blame for our human failures plainly on ourselves." (Kirkus Reviews)
“A taut retelling of a foundational Western story...this extraordinary book reads like a pristine translation rather than a retelling, conveying both confounded strangeness and timeless truths about love’s sometimes terrible and always exhilarating energies.” (Library Journal, Starred Review)
"A dramatic, intimate chronicle of a family implosion set in unsettling times as gods withdraw from human affairs. Far from the Brooklyn or Ireland of his recent bestsellers, Tóibín explores universal themes of failure, loss, loneliness, and repression.”
(Publishers Weekly, STARRED review)
"Written with the ‘knowledge that the time of the gods has passed,’ Colm Toibin’s take on the classic myth of Agamemnon and Clytemnestra in House of Names evokes a husband’s vanity and a wife’s rage, casting the fragility of our closest bonds in fresh light.” (Vogue)
“A creative reanimation of these indelible characters who are still breathing down our necks across the millennia... [Tóibín] pumps blood even into the silent figures of Greek tragedy... Despite the passage of centuries, this is a disturbingly contemporary story of a powerful woman caught between the demands of her ambition and the constraints on her gender...Never before has Tóibín demonstrated such range, not just in tone but in action. He creates the arresting, hushed scenes for which he’s so well known just as effectively as he whips up murders that compete, pint for spilled pint, with those immortal Greek playwrights.” (Ron Charles The Washington Post)
“Although a reader may know what’s coming, the novel’s imaginative take on the twisted psychology behind the horrific acts is what keeps it compelling... The final chapters are among the most mysterious and beautiful Tóibín has written; a high bar.” (Claude Peck The Minneapolis Star Tribune)
“[An] extraordinary new novel... Drawing upon Greek tragedy as deftly as he borrowed the story of the Virgin mother in his 2013 Booker Prize finalist novel, The Testament of Mary, Tóibín has found the gaps in the myth, reimagining all as a profoundly gripping and human tale... you can see at once the marvelous writer Tóibín is, and how he works best under a set of self-imposed restrictions... (John Freeman The Boston Globe)
“Mr. Tóibín is exemplary of modern methods, a careful, Jamesian portraitist of exquisite finesse and understatement... as finely written as any of his books." (Sam Sacks The Wall Street Journal)
“Simply and inexorably, Tóibín spins the deadly tale we remember so well from our schooldays...It is Tóibín’s unembellished prose that grips us, pulling us anew into an old story, one whose ending we know yet cannot put down. We are also struck by the emotional distance he gives his characters, one from the other, except in rare instances – a family dynamic bred of damage... riveting and relevant and a fine addition to the growing canon of works by Colm Tóibín.” (Karen Brady The Buffalo News)
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