کتاب The Plot: A Novel

جیکوب فینچ بونر زمانی یک رمان نویس جوان خوش آتیه بود که اولین کتابش به طرز قابل احترامی منتشر شد. امروز، او در یک برنامه درجه سه MFA تدریس می کند و در تلاش برای حفظ آنچه از احترام به خود باقی مانده است. او سال‌هاست که هیچ چیز شایسته‌ای ننوشته است - چه رسد به انتشار. هنگامی که ایوان پارکر، متکبرترین شاگرد او، اعلام می‌کند که به کمک جیک نیاز ندارد، زیرا طرح کتابش در دست انتشار است، یک چیز مطمئن است، جیک آماده می‌شود که این لاف را به عنوان خودشیفتگی آماتور معمولی رد کند. اما بعد . . . او طرح را می شنود

جیک به مسیر نزولی حرفه‌اش بازمی‌گردد و خود را برای انتشار ابرنواختر اولین رمان ایوان پارکر آماده می‌کند: اما هرگز نمی‌آید. جیک وقتی متوجه می‌شود که شاگرد سابقش مرده است، احتمالاً بدون اینکه کتابش را کامل کند، همان کاری را می‌کند که هر نویسنده‌ای که به خود احترام می‌گذارد با چنین داستانی انجام می‌دهد - داستانی که کاملاً نیاز به روایت دارد.

در چند سال کوتاه، همه پیش‌بینی‌های ایوان پارکر به حقیقت پیوستند، اما جیک نویسنده‌ای است که از موج لذت می‌برد. او در سراسر جهان ثروتمند، مشهور، ستایش شده و خوانده است. اما در اوج زندگی جدید با شکوه او، یک ایمیل می رسد، اولین بار در یک کمپین وحشتناک و ناشناس: شما یک دزد هستید ، می گوید.

در حالی که جیک تلاش می کند تا آنتاگونیست خود را بفهمد و حقیقت را از خوانندگان و ناشرانش پنهان کند، شروع به یادگیری بیشتر در مورد شاگرد مرحومش می کند و آنچه کشف می کند او را شگفت زده و وحشت زده می کند. ایوان پارکر که بود و چگونه ایده رمان «مطمئن» خود را پیدا کرد؟ داستان واقعی پشت طرح چیست و چه کسی آن را از چه کسی دزدیده است؟

خرید کتاب رمان انگلیسی

خرید اینترنتی کتاب The Plot: A Novel با تخفیف از فروشگاه اینترنتی یگتا کتاب

کتاب The Plot: A Novel

کتاب The Plot: A Novel

** NEW YORK TIMES BESTSELLER! ** The Tonight Show Summer Reads Winner ** A New York Times Notable Book of 2021 **

"Insanely readable." —Stephen King

Hailed as "breathtakingly suspenseful," Jean Hanff Korelitz’s The Plot is a propulsive read about a story too good not to steal, and the writer who steals it

Jacob Finch Bonner was once a promising young novelist with a respectably published first book. Today, he’s teaching in a third-rate MFA program and struggling to maintain what’s left of his self-respect; he hasn’t written—let alone published—anything decent in years. When Evan Parker, his most arrogant student, announces he doesn’t need Jake’s help because the plot of his book in progress is a sure thing, Jake is prepared to dismiss the boast as typical amateur narcissism. But then . . . he hears the plot

Jake returns to the downward trajectory of his own career and braces himself for the supernova publication of Evan Parker’s first novel: but it never comes. When he discovers that his former student has died, presumably without ever completing his book, Jake does what any self-respecting writer would do with a story like that—a story that absolutely needs to be told

In a few short years, all of Evan Parker’s predictions have come true, but Jake is the author enjoying the wave. He is wealthy, famous, praised and read all over the world. But at the height of his glorious new life, an e-mail arrives, the first salvo in a terrifying, anonymous campaign: You are a thief, it says

As Jake struggles to understand his antagonist and hide the truth from his readers and his publishers, he begins to learn more about his late student, and what he discovers both amazes and terrifies him. Who was Evan Parker, and how did he get the idea for his “sure thing” of a novel? What is the real story behind the plot, and who stole it from whom

From the Publisher

AN INTERVIEW WITH THE AUTHOR

At the risk of sounding too meta, how did you come up with the plot of The Plot?

JEAN HANFF KORELITZ: Like most writers I’m fascinated by plagiarism and the murkiness around creative appropriation: chefs stealing recipes from other chefs, comedians helping themselves to other comedians’ jokes, academic theft, and above all creative writers appropriating work by others. I’m hardly the first novelist to write about this — there’s an entire sub-genre of Stephen King work on this theme — and it’s not the first time I’ve touched on it in my own work, but it’s the first time I’ve placed it front and center in a book. I think it makes sense to write about the things that fascinate us.

While writing this book, you must have put yourself in the shoes of the main character. Do you think you’d ever steal a genius idea for a book if you knew it would never be used?

I wouldn’t, but only because I’m squeamish by nature and I’d be terrified about that degree of exposure and disapproval. But like most artists, I also understand that stories run underneath the ground of our collective experience, and we all dip into them, whether we’re aware of it or not. The real question is: At what point does a collective story become the individual property of a person or an artist? A contender for the 2020 Pulitzer Prize for Drama was The Inheritance by Matthew Lopez, which openly adapts Forster’s Howards End to contemporary New York City. This is a normal, even laudatory practice, which artists fully understand. But to help yourself to the specific plot of a recently deceased author who never completed his book? I don’t know where the line is, exactly, but I’m pretty sure that’s over it

شما میتوانید نظر خود را در مورد این مطلب بیان کنید.

نام

ایمیل ایمیل شما منتشر نخواهد شد.

وب سایت

نظر شما

کد امنیتی

حروف بزرگ و کوچک یکسان است.

ثبت