Extremely Loud and Incredibly Close By Jonathan Safran Foer | The IndependentJust as the September 11 attack on the World Trade Center instantly epitomised the clash between Islamic fundamentalism and capitalist hubris, the writing of Jonathan Safran Foer has divided readers into vehemently opposed factions. One side has given him a rapturous reception: confetti-showers of praise, numerous prizes including the Guardian First Book award for Everything Is Illuminated, published when he was only 25 and, for this new novel, a fervent endorsement from Salman Rushdie "ambitious, pyrotechnic, riddling, and above all In the opposite camp, Foer's fiction triggers violently allergic reactions. Dissenters dismiss him as an adolescent chatterbox, all artifice and no substance, all cuteness and no grit. I would have preferred not to take sides. But, looking back at my jottings in the margins of Foer's new book, I can't deny how frequently and furiously I've scribbled "Aaaarrghh! Haunted by messages left on the answer-phone while his dad was being incinerated, Oskar embarks on a quest to solve the mystery of a key found in a vase, armed only with pubescent pluck and the imperative "to do something, like sharks, who die if they don't swim, which I know about".
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The hero, a nine-year-old boy called Oskar Schell, has lost his father, Thomas, in the collapse of one of the Twin Towers. Further, he is the only person to have heard the five decreasingly sanguine messages that Thomas, trapped in a meeting at Windows on the World, left on the family answering machine. The novel, traditionally a mirror held up to the Western bourgeoisie, to teach its members how to shave, dress, and behave, has focussed on adult moral choices and their consequences. With some brilliant exceptions like Dickens and Mark Twain and Henry James, novelists have not taken children seriously enough to make them protagonists. However sensitive and observant, the ordinary child lacks property and the capacity for sexual engagement; he exists, therefore, on the margins of the social contract—a rider, as it were, on the imperatives and compromises of others. Yet in recent years a number of young novelists—Stephen Millhauser and Jonathan Lethem, for two—have devoted their most ambitious and energetic efforts to detailing the fervent hobbies and the intoxicating overdoses on popular culture, the estrangement and the dependence that characterize contemporary American childhood.
The book's narrator is a nine-year-old boy named Oskar Schell. In the story, Oskar discovers a key in a vase that belonged to his father, a year after he is killed in the September 11 attacks. The discovery inspires Oskar to search all around New York for information about the key and closure following his father's death. Oskar Schell is a nine-year-old boy whose father, Thomas Schell, died in the terrorist attacks on the World Trade Center on September 11, The novel begins after the tragedy, with Oskar narrating.
Houghton Mifflin Company. ITS title is "Extremely Loud and Incredibly Close," but it will also be known, inevitably, perhaps primarily, and surely intentionally, as that new Sept.
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If Jonathan Safran Foer ever tells his readers what he thinks and feels, he tells it slant. Half of his celebrated debut novel, Everything Is Illuminated , consisted of tiresome magic-realist yarns about a Ukrainian shtetl, written by a quasi-fictional Jonathan Safran Foer. It looks at September 11 through the eyes of Oskar Schell, a weird, precocious 9-year-old whose father died in the World Trade Center collapse. In a novel about the Holocaust, this kind of oblique, even playful, strategy worked, partly because the subject has already been so exhaustively and earnestly explored. But September 11, that spectacular monstrosity plopped into the middle of an ordinary Tuesday in downtown Manhattan, is another matter. This novel, like Everything Is Illuminated , is a braided story, with the main strand told by Oskar.