Zusatztext 47524379 Informationen zum Autor Kamel Daoud Klappentext Best Translated Novel of the Decade - Lit Hub A New York Times Notable Book of 2015 - Michiko Kakutani, The Top Books of 2015, New York Times - TIME Magazine Top Ten Books of 2015 - Publishers Weekly Best Books of the Year - Financial Times Best Books of the Year "A tour-de-force reimagining of Camus's The Stranger, from the point of view of the mute Arab victims." -The New Yorker He was the brother of "the Arab" killed by the infamous Meursault, the antihero of Camus's classic novel. Seventy years after that event, Harun, who has lived since childhood in the shadow of his sibling's memory, refuses to let him remain anonymous: he gives his brother a story and a name-Musa-and describes the events that led to Musa's casual murder on a dazzlingly sunny beach. In a bar in Oran, night after night, he ruminates on his solitude, on his broken heart, on his anger with men desperate for a god, and on his disarray when faced with a country that has so disappointed him. A stranger among his own people, he wants to be granted, finally, the right to die. The Stranger is of course central to Daoud's story, in which he both endorses and criticizes one of the most famous novels in the world. A worthy complement to its great predecessor, The Meursault Investigation is not only a profound meditation on Arab identity and the disastrous effects of colonialism in Algeria, but also a stunning work of literature in its own right, told in a unique and affecting voice.Mama's still alive today. She doesn't say anything now, but there are many tales she could tell. Unlike me: I've rehashed this story in my head so often, I almost can't remember it anymore. I mean, it goes back more than half a century. It happened, and everyone talked about it. People still do, but they mention only one dead man, they feel no compunction about doing that, even though there were two of them, two dead men. Yes, two. Why does the other one get left out? Well, the original guy was such a good storyteller, he managed to make people forget his crime, whereas the other one was a poor illiterate created by God only, it seems, to take a bullet and return to dustan anonymous person who didn't even have the time to be given a name. I'll tell you this up front: the other dead man, the murder victim, was my brother. There's nothing left of him. There's only me, left to speak in his place, sitting in this bar, waiting for condolences no one's ever going to offer me. Laugh if you want, but this is more or less my mission: I peddle offstage silence, trying to sell my story while the theater empties out. As a matter of fact, that's the reason why I've learned to speak this language, and to write it too: so I can speak in the place of a dead man, so I can finish his sentences for him. The murderer has become famous, and his story's too well written for me to get any ideas about imitating him. He wrote in his own language. Therefore I'm going to do what was done in this country after Independence: I'm going to take the stones from the old houses the colonists left behind, remove them one by one, and build my own house, my own language. Zusammenfassung Best Translated Novel of the Decade Lit Hub A New York Times Notable Book of 2015 Michiko Kakutani! The Top Books of 2015! New York Times TIME Magazine Top Ten Books of 2015 Publishers Weekly Best Books of the Year Financial Times Best Books of the Year A tour-de-force reimagining of Camus's The Stranger ! from the point of view of the mute Arab victims. The New Yorker He was the brother of the Arab killed by the infamous Meursault! the antihero of Camus's classic novel....

A New York Times Notable Book of 2015 — Michiko Kakutani, The Top Books of 2015, New York Times ***— TIME Magazine *Top Ten Books of 2015 — *Publishers Weekly *Best Books of the Year **— Financial Times Best Books of the Year**

"[A] rich and inventive new novel...so convincing and so satisfying that we no longer think of the original story as the truth, but rather come to question it...[a] letter of love rebellion and despair for Algeria." —The New York Times Book Review

“Nothing…prepared me for [Daoud’s] first novel, The Meursault Investigation, a thrilling retelling of Albert Camus’s 1942 classic, The Stranger, from the perspective of the brother of the Arab killed by Meursault, Camus’s antihero. The novel...not only breathes new life into The Stranger; it also offers a bracing critique of postcolonial Algeria... The premise is ingenious: that The Stranger, about the murder of an unnamed Arab on an Algiers beach, was a true story…Meursault is less a critique of The Stranger than its postcolonial sequel.” —*The New York Times Magazine

"[A] stunning debut novel…[A]n intricately layered tale that not only makes us reassess Camus’s novel but also nudges us into a contemplation of Algeria’s history and current religious politics; colonialism and postcolonialism; and the ways in which language and perspective can radically alter a seemingly simple story and the social and philosophical shadows it casts backward and forward.” —Michiko Kakutani, The New York Times*

“A tour-de-force reimagining of Camus’s The Stranger, from the point of view of the mute Arab victims.” —The New Yorker

“[A] retelling of Albert Camus’s classic The Stranger from an Algerian perspective...[this] debut novel reaped glowing international reviews, literary honors, and then, suddenly, demands for [Daoud’s] public execution.” —New York Times
 
“Daoud has said that his novel is an homage to Albert Camus’s The Stranger, but it reads more like a rebuke...Where Camus’s godless prose is coolly mathematical in its ratio of words to meaning, Daoud’s work conducts waves of warmth. The sand and the sea and the sky and the stars, which, for Camus, seem to negate life rather than affirm it, are, for Daoud, vital witnesses and participants in his existence.” —NewYorker.com
 
"Kamel Daoud's remarkable debut novel isn't simply a postcolonial reimagining but an allegory of his own country and time...[The Meursault Investigation] has the magnetism of its forebear, but its themes of voicelessness and vengeance feel utterly present-day." —Vogue

“[A] scorching debut novel that is sure to become an essential companion to Camus’s masterpiece…The Meursault Investigation...is a biting, profound response to French colonialism. It is also a lamentation for a modern Algeria gripped by pious fundamentalism…The book’s brilliance lies in the gradual way Mr. Daoud reveals Harun to be a perfect mirror: the tragic double of Meursault/Camus… Daoud’s prose is propulsive and charged. The pages glitter with memorable phrases. This brave book is a vertiginous response to a century of trauma.” —*The Economist

• “[A] mesmerizing first novel...The Meursault Investigation has an inescapable topical resonance, given the role played by political Islam in Algeria in recent times...an absorbing, independent story and a shrewd critique of a country trapped in history’s time warp.” —The Wall Street Journal

  "Daoud neither rejects Camus and his colonial legacy outright nor accepts his work uncritically. His resulting meditations are rich and thought-provoking, both for Algerian and for Western readers." —The New York Review of Books

  "More than a mere reimagining of the primary text, The Meursault Investigation is …