In Freedomland , Richard Price returns to the gritty terrain he first explored in Clockers . This time, the fictional (but all too convincing) urban eyesore of Dempsy, New Jersey, is convulsed by a high-profile carjacking. A single mom named Brenda Martin insists that a man stopped her car, yanked her from behind the wheel, and drove off with the vehicle--and her young son. Behind these horrific facts looms the victim is white and the perpetrator is black. Immediately the racial calculus of American life comes to bear on the crime, which becomes a focus for long-smoldering animosities. As a three-ring circus of media, cops, and gawkers converges on the crime scene, Dempsy and the adjoining white community of Gannon seem primed for an explosion. Price passes the narrative baton back and forth between Lorenzo Council, an ambitious black detective, and Jesse Haus, a no-less-ambitious reporter for the local paper. Lorenzo's street-smart, agitated voice is the more convincing of the two. Jesse, with her frantic compulsion to squeeze local color from the crisis, never quite attains three dimensions--although her outsider's relationship to her material suggests some faint, fascinating echo of the author's. In any case, Price allows the story to proceed at an irresistible slow burn. His ear for dialogue is as sharp as ever, and nobody casts a colder or more accurate eye on our fin-de-siècle urban existence.
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Das Gesicht der Wahrheit Roman
von Richard Price
In Freedomland , Richard Price returns to the gritty terrain he first explored in Clockers . This time, the fictional (but all too convincing) urban eyesore of Dempsy, New Jersey, is convulsed by a high-profile carjacking. A single mom named Brenda Martin insists that a man stopped her car, yanked her from behind the wheel, and drove off with the vehicle--and her young son. Behind these horrific facts looms the victim is white and the perpetrator is black. Immediately the racial calculus of American life comes to bear on the crime, which becomes a focus for long-smoldering animosities. As a three-ring circus of media, cops, and gawkers converges on the crime scene, Dempsy and the adjoining white community of Gannon seem primed for an explosion. Price passes the narrative baton back and forth between Lorenzo Council, an ambitious black detective, and Jesse Haus, a no-less-ambitious reporter for the local paper. Lorenzo's street-smart, agitated voice is the more convincing of the two. Jesse, with her frantic compulsion to squeeze local color from the crisis, never quite attains three dimensions--although her outsider's relationship to her material suggests some faint, fascinating echo of the author's. In any case, Price allows the story to proceed at an irresistible slow burn. His ear for dialogue is as sharp as ever, and nobody casts a colder or more accurate eye on our fin-de-siècle urban existence.
Aktuelle Rezensionen(1)
Rezension von Christin BauerManchmal altern Thriller wie ein guter Wein, und manchmal... nun ja, eher wie offene Milch. Das Buch hat sich leider vollständig nach Arbeit statt nach Unterhaltung angefühlt. Ich liebe alte Thriller. Eigentlich. Ich mag die Atmosphäre, das Analoge, den entschleunigten Nervenkitzel. Aber bei diesem Werk (das immerhin beinahe stolze 30 Jahre auf dem Buckel hat) musste ich mir schmerzlich eingestehen: Wir beide passen einfach nicht zusammen. Der Stil war für mich leider total überfordernd und unnötig wirr. Statt Spannung gab es bei mir nur Fragezeichen. Wer war nochmal wer? Endlose Dialoge und Szenen, die sich ziehen wie Kaugummi. Vielleicht liegt es am Zeitgeist der 90er, vielleicht am speziellen Stil des Autors – aber mich erreichte die Story null. Wenn man mehr Zeit damit verbringt, darüber nachzudenken, das Buch abzubrechen, als die nächste Seite herbeizusehnen, ist die Entscheidung eigentlich schon gefallen.