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Clara a eu quatre maris mais seul un cinquième homme a compté pour elle. De cet homme, elle a reçu une bague, une superbe émeraude dont la valeur est por elle toute sentimentale. Mais un jour sa bague disparaît. Clara croit connaître la coupable. Soupçon, colère, détresse, cruauté, remords, Clara va passer par toute une gamme de sentiments dont elle sera la première étonnée. Mais d'autres proches vont aussi lui révéler des aspects cachés de leur personnalité. Que de surprises la vie lui réserve-t-elle, vue à travers une émeraude volée..."La meilleure affaire littéraire de l'année Ne le ratez pas. "Washington Post

Un larcin

Dans La victime, Saul Bellow raconte l'histoire d'un petit employé juif, Leventhal, qui travaille dans un magazine à New York. Sa femme, Mary, est partie voir sa mère dans le Sud, et il se trouve seul dans la grande ville écrasée de chaleur. Son neveu tombe gravement malade, et sa belle-soeur, en l'absence de son mari, fait appel à lui. Aux soucis familiaux s'ajoutent des préoccupations plus graves. Un certain Albee, qui l'avait présenté à son patron, le rend responsable de la perte de sa situation. Il poursuit Leventhal de sa rancoeur et s'estime lésé : la victime c'est lui. Mais la véritable victime, en fait, c'est peut-être Leventhal, l'homme moderne dépassé par les difficultés de la vie citadine, pourvu d'une famille abusive, en butte aux préjugés raciaux et désespérément seul en face de son destin absurde. Cette solitude n'est même pas compensée par la liberté, puisqu'il dépend de tous : de la société, de ses employeurs, de sa famille et des ennemis qu'il s'est involontairement créés. La victime a paru en 1947 aux États-Unis.

La victime

Maestro del romanzo americano del secondo dopoguerra, Premio Nobel per la letteratura, modello di stile e di pensiero per generazioni di scrittori e per tanti eredi più o meno dichiarati, da Philip Roth a Jonathan Franzen, Saul Bellow è forse anche l'ultimo, grande autore per il quale la crea­zione letteraria e la dimensione pubblica hanno rappresentato due entità imprescindibili e complementari. Così, all'inesauribile vena di narratore e commediografo si è sempre accompagnata una intensa produzione saggistica, ospitata da grandi testate e prestigiose riviste. Nei ventuno saggi qui raccolti, scritti nell'arco di un cinquantennio, Saul Bellow prende di petto i grandi temi della modernità e ci racconta il Secolo Americano con una lucidità di sguardo, un rigore, un'ironia e una passione che hanno pochi eguali nella letteratura del suo tempo, e non solo. Che si tratti di recensioni, ritratti di artisti e colleghi - da Hemingway a Roth, da Ellison a Salinger -, riflessioni sul rapporto tra scrittore e società, conferenze sull'identità ebraica, autoritratti carichi di ironia, la puntualità dell'analisi e l'eleganza dello stile si ripropongono ogni volta inalterate, e offrono, a poco più di dieci anni dalla morte, un'occasione preziosa per ripercorrere un'attività fertile, intensa e contraddittoria, che continua ancora oggi a produrre grandi frutti.

Troppe cose a cui pensare - Saggio 1951-2000

Bellow's second novel features Asa Leventhal, sub-editor of a trade magazine, and he is a natural victim; a man uncertain of himself, never free from the nagging suspicion that the other guy might be right. So when he meets a down-at-hell stranger in the park one day and finds himself being accused of ruining the man's life...well, he half-believes it. And because he half-believes it, he can't shake the man loose, can't stop himself being trapped in a mire of self-doubt, can't help becoming...a victim.First published in the USA in 1947, and in the UK a year later. It first appeared in a Penguin edition in Britain in 1966.

The Victim

Throughout the 1980s and 1990s, Saul Bellow confined himself to shorter fictions. Not that this old master ever dabbled in minimalism: novellas such as The Actual and The Bellarosa Connection are bursting at the seams with wit, plot, and the intellectual equivalent of high fiber. Still, Bellow's readers wondered if he would ever pull another full-sized novel from his hat. With Ravelstein, the author has done just that--and he proves that even in his ninth decade, he can pin a character to the page more vividly, and more permanently, than just about anybody on the planet. Character is very much the issue in Ravelstein, whose eponymous subject is a thinly disguised version of Bellow's boon companion, the late Allan Bloom. Like Bloom, Abe Ravelstein has spent much of his career at the University of Chicago, fighting a rearguard action against the creeping boobism and vulgarity of American life. What's more, he's written a surprise bestseller (a ringer, of course, for The Closing of the American Mind), which has made him into a millionaire. And finally, he's dying--has died of AIDS, in fact, six years before the opening of the novel. What we're reading, then, is a faux memoir by his best friend and anointed Boswell, a Bellovian body-double named Chick:  Ravelstein was willing to lay it all out for me. Now why did he bother to tell me such things, this large Jewish man from Dayton, Ohio? Because it very urgently needed to be said. He was HIV-positive, he was dying of complications from it. Weakened, he became the host of an endless list of infections. Still, he insisted on telling me over and over again what love was--the neediness, the awareness of incompleteness, the longing for wholeness, and how the pains of Eros were joined to the most ecstatic pleasures.  Ravelstein is a little thin in the plot department--or more accurately, it has an anti-plot, which consists of Chick's inability to write his memoir. But seldom has a case of writer's block been so supremely productive. The narrator dredges up anecdote after anecdote about his subject, assembling a composite portrait: "In approaching a man like Ravelstein, a piecemeal method is perhaps best." We see this very worldly philosopher teaching, kvetching, eating, drinking, and dying, the last in melancholic increments. His death, and Chick's own brush with what Henry James called "the distinguished thing," give much of the novel a kind of black-crepe coloration. But fortunately, Bellow shares Ravelstein's "Nietzschean view, favorable to comedy and bandstands," and there can't be many eulogies as funny as this one.  As always, the author is lavish with physical detail, bringing not only his star but a large gallery of minor players to rude and resounding life ("Rahkmiel was a non-benevolent Santa Claus, a dangerous person, ruddy, with a red-eyed scowl and a face in which the anger muscles were highly developed"). His sympathies are also stretched in some interesting directions by his homosexual protagonist. Bellow hasn't, to be sure, transformed himself into an affirmative-action novelist. But his famously capacious view of human nature has been enriched by this additional wrinkle: "In art you become familiar with due process. You can't simply write people off or send them to hell." A world-class portrait, a piercing intimation of mortality, Ravelstein is truly that other distinguished thing: a great novel. --James Marcus

Ravelstein

Harry Trellman n'a pas sa place. Ni dans l'orphelinat de Chicago où sa mère l'envoie, ni à l'université, ni même dans la rue. Certes il a des attaches, mais elles sont, comme sa vie, singulières et fluctuantes. À l'écart, il observe la comédie sociale et ses faux-semblants. Il envisage de tout quitter, de changer de vie, de partir en Chine, par exemple; une personne, pourtant, le retient à Chicago:depuis l'enfance il voue à Amy Wustrin un amour lointain, résigné. Trente ans auparavant ils ont connu une minute d'intensité sans égale, puis Amy a cherché l'amour ailleurs... Tandis qu'éclatait la révolution sexuelle, elle a parcouru le monde réel, d'un mariage à l'autre, de la richesse au dénuement, de l'adolescente délurée qu'elle était à la matrone convenable qu'elle est devenue. Mais Harry n'a cessé d'éprouver pour Amy une «affinité véritable».Dans ce roman à la fois poignant et comique, Saul Bellow suit ses personnages à travers une existence d'espoirs déçus jusqu'au moment où, autour d'une tombe, lors d'une étrange cérémonie, ils vont se trouver réunis.

Une affinité véritable

Abe Ravelstein est un brillant professeur de l'université de Chicago et un homme qui se targue d'avoir formé tous les hommes qui comptent dans le monde politique. Il a vécu sur un grand pied - largement au-dessus de ses moyens. Son ami Chick, le narrateur, lui a suggéré d'exposer sa philosophie politique dans un livre destiné au grand public. À sa propre surprise, Ravelstein le fait et devient millionnaire. Durant un séjour à Paris destiné à célébrer ce succès, Ravelstein suggère à son tour à Chick d'écrire un livre sur lui et tous deux échangent des pensées sur la mort, la philosophie et l'histoire, les amours et les amis, et des anecdotes du passé. L'humeur s'assombrit à leur retour dans le Midwest et Ravelstein succombe au sida tandis que Chick lui-même frôle la mort de peu. Le dernier roman de Saul Bellow est un voyage, tantôt sombre, tantôt férocement drôle, à travers l'amour et la mémoire ; c'est un hymne à l'amitié et à la vie.

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