Frases de Ian McEwan
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Ian McEwan, CBE , é um escritor britânico, chamado por vezes de “Ian Macabro”, devido à natureza das suas primeiras obras, e que de romance a romance se tem convertido em um dos mais conhecidos da sua geração.

Passou parte da sua infância no Extremo Oriente, na Alemanha e no Norte de África, já que o seu pai era um oficial do Exército Britânico que foi colocado sucessivamente nesses locais. Estudou na Universidade de Sussex e na Universidade de East Anglia, onde teve Malcom Bradbury como professor. A primeira das suas obras publicadas foi a colecção de relatos Primeiro amor, últimos ritos . Em 1998, e causando grande controvérsia, foi-lhe concedido o Prémio Man Booker pela novela Amesterdão. Em 1997 publicou O fardo do amor, considerada por muitos como uma obra-prima sobre uma pessoa que sofre do síndroma de Clerambault.

Em Março e Abril de 2004, uns meses depois do governo britânico o convidar para jantar com a Primeira Dama dos Estados Unidos , o Departamento de Segurança Nacional deste país impediu-o de entrar por não ter no passaporte um visto apropriado para trabalhar . Só vários dias depois e de se tornar público na imprensa britânica é que se lhe permitiu a entrada.

✵ 21. Junho 1948   •   Outros nomes Ијан Макјуан, ایان مک‌یوون
Ian McEwan photo
Ian McEwan: 86   citações 2   Curtidas

Ian McEwan Frases famosas

Ian McEwan: Frases em inglês

“Let the guilty bury the innocent, and let no one change the evidence”

Ian McEwan livro Atonement (livro)

Fonte: Atonement

“Nations are never virtuous, though they might sometimes think they are.”

Ian McEwan livro Solar

Page 149. (A line from Michael Beard's speech at the Savoy Hotel, London.)
Solar (2010)

“I did not kill my father, but I sometimes felt I had helped him on his way.”

Ian McEwan livro The Cement Garden

Page 9. (Opening line of the book)
The Cement Garden (1978)

“Nearby, where the main road forked, stood an iron cross on a stone base. As the English couple watched, a mason was cutting in half a dozen fresh names. On the far side of the street, in the deep shadow of a doorway, a youngish woman in black was also watching. She was so pale they assumed at first she had some sort of wasting disease. She remained perfectly still, with one hand holding an edge of her headscarf so that it obscured her mouth. The mason seemed embarrassed and kept his back to her while he worked. After a quarter of an hour an old man in blue workman's clothes came shuffling along in carpet slippers and took her hand without a word and led her away. When the propriétaire came out he nodded at the other side of the street, at the empty space and murmured, 'Trois. Mari et deux frères,' as he set down their salads.This sombre incident remained with them as they struggled up the hill in the heat, heavy with lunch, towards the Bergerie de Tédenat. They stopped half way up in the shade of a stand of pines before a long stretch of open ground. Bernard was to remember this moment for the rest of his life. As they drank from their water bottles he was struck by the recently concluded war not as a historical, geopolitical fact but as a multiplicity, a near-infinity of private sorrows, as a boundless grief minutely subdivided without diminishment among individuals who covered the continent like dust, like spores whose separate identities would remain unknown, and whose totality showed more sadness than anyone could ever begin to comprehend; a weight borne in silence by hundreds of thousands, millions, like the woman in black for a husband and two brothers, each grief a particular, intricate, keening love story that might have been otherwise. It seemed as though he had never thought about the war before, not about its cost. He had been so busy with the details of his work, of doing it well, and his widest view had been of war aims, of winning, of statistical deaths, statistical destruction, and of post-war reconstruction. For the first time he sensed the scale of the catastrophe in terms of feeling; all those unique and solitary deaths, all that consequent sorrow, unique and solitary too, which had no place in conferences, headlines, history, and which had quietly retired to houses, kitchens, unshared beds, and anguished memories. This came upon Bernard by a pine tree in the Languedoc in 1946 not as an observation he could share with June but as a deep apprehension, a recognition of a truth that dismayed him into silence and, later, a question: what possible good could come of a Europe covered in this dust, these spores, when forgetting would be inhuman and dangerous, and remembering a constant torture?”

Ian McEwan livro Black Dogs

Page 164-165.
Black Dogs (1992)

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