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Madeline Miller

Galatea

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From the internationally bestselling and prize-winning author of The Song of Achilles and Circe, an enchanting short story that boldly reimagines the myth of Galatea and Pygmalion.
**Featuring a new afterword by Madeline Miller**

In Ancient Greece, a skilled marble sculptor has been blessed by a goddess who has given his masterpiece — the most beautiful woman the town has ever seen — the gift of life. Now his wife, he expects Galatea to please him, to be obedience and humility personified. But she has desires of her own, and yearns for independence.
In a desperate bid by her obsessive husband to keep her under control, she is locked away under the constant supervision of doctors and nurses. But with a daughter to rescue, she is determined to break free, whatever the cost…
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Praise for CIRCE
'A thrilling tour de force of imagination' Mail on Sunday
'A bold and subversive retelling' New York Times
'A novel to be gobbled greedily in one sitting' Observer

'A remarkable achievement' Sunday Times
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26 trycksidor
Utgivningsår
2013
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Intryck

  • b3522851127delade ett intrycki fjol

    The context of the story is so sad. A man, a sculptor, making a ‘perfect woman’ only for his own desires. What shocked me more is that she is not the first, he has done this before where he sculptures his ideal woman and of course she has to be perfect, beautiful and compliant and Galatea is not compliant at all. The true joy to this story is her love for her daughter Paphos and throughout this short story she only has joyous and kind things to say about her daughter and tells her husband how much he misses her and all he does is acts like jealous little baby wishing to be missed by her instead. He aggravated and disgusted me throughout the book; there is no redeeming quality about which I really like. A lot of the time in greek mythology the disgusting men were often praised for their other attributes or charms which overshadowed their wrongdoings.
    I rlly like how Madeline took Pygmalion’s greek mythology story and turned it into smth but a fetishised happy ending where his sculpture comes to life (like in Galatea) and they marry, having a child. Instead Galatea (who doesn’t even have a name in Pygmalion’s story) is trying to get away from her disgusting husband and trying to protect her daughter and the girl after her by drowning him (very satisfying) and herself. There is no romanisation of the situation and it’s told for you to be disgusted and repulsed. Whereas in Pygmalion’s story, the ‘happy ending’ isn’t a happy ending at all bc he made a woman who has no self beyond pleasing a man his wife fetishised for her sexual purity and the whole sculpturing her to his perfection which is just his male fantasy dismissing female reality.
    I wish for Madeline to dive in into Galatea with more depth. Having dipped my two into her story, I would love to see her wit and charm be unfolded more and see the relationship with her daughter, a sad one but joyous, yet interesting dynamic to read bc of the relationship between her, her daughter and her husband. I wouldn’t even mind a version of Paphos’ perspective on the story. I think with great writing which Madeline has, this story could be so much more.

  • Daria Furmandelade ett intryckför 2 månader sedan
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Citat

  • Ameyalli Roskaritzhar citeratför 5 månader sedan
    I’m always this colour,’ I said. ‘Because I used to be made of stone.’
  • Thomas Everett Vanderboomhar citerati fjol
    Others have seen it as a metaphor for how artists fall in love with their art.
  • Thomas Everett Vanderboomhar citerati fjol
    We fell through the currents and I thought of how the crabs would come for him, climbing over my pale shoulders. The ocean floor was sandy and soft as pillows. I settled into it and slept

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