Sally Rooney

Sally Rooney'in ikinci romanı Normal İnsanlar (2018) nasıl bir zamanda yaşadığımızı iki karakterin ilişkisi üzerinden anlatıyor. Birbirlerinden başta sınıfsal uçurumları olmak üzere, karakter yapıları olarak da epey farklı olan Connell ile Marianne'in liseden üniversiteye uzanan ilişkilerinin romanı bu.

Sally Rooney'nin ikinci kitabı "Normal İnsanlar" Can
Yayınları tarafından okurla buluştu. Rooney kitapta, lise
yıllarından üniversiteye uzanan bir ilişkinin kaydını
tutuyor; toplumda yer edinme mücadelesi veren,
birbirlerinden ayrı kalamayan, ancak sevmek için de zorlu
sınavlar vermek zorunda kalan iki gencin hikâyesiyle bir
kuşağı temsil ediyor.

{Julia M. Walton, Princeton University} One of the hottest stars in contemporary literary fiction is the young Irish novelist Sally Rooney. The attention surrounding her has been both overwhelming in scale and overwhelmingly positive. She was named the 2017 PFD/Sunday Times young writer of the year for her debut novel, Conversations with Friends; in 2018, Normal People, Rooney’s sophomore work, was longlisted for the Man Booker Prize, won the UK’s Costa Book Award, and was named Waterstones’ Book of the Year, among other accolades. The critical praise directed her way, however, has taken on a specific shape: she has been hailed as the voice of the millennial generation.

It is more than 90 years since DH Lawrence’s famously outrageous novel 'Lady Chatterley’s Lover' was first published and times have certainly changed since then. Nowadays stories full of explicit eroticism, affairs and female pleasure are no longer labelled “obscene”. Sally Rooney’s 'Normal People', Costa Novel of the Year 2018, revisits many of the issues and the ostensible plot of 'Lady Chatterley'. Both raise the question: what can sex tell us about society?

Between 1935 and 1952 seven films were made based on the novels of Charles Dickens (7 February 1812-9 June 1870). [1] They were filmed in the social realist style, a style that was popular after the Great Crash and reflected the hardships facing people at the time. Social realism is a style often used by directors, artists, composers and writers to expose the living conditions of the poor and government lack of action. Dickens's works on film, as in their literary forms, satirise the money lenders, bankers, the rich, the aristocracy, and the landed gentry, while at the same time showing the effects of poverty on the working class in what some would see as overly sentimental depictions.

Bestselling Irish novelist Sally Rooney has joined the Boycott, Divestment and Sanctions movement by refusing an offer from Israel’s Modan publishing house to translate and publish her latest novel, “Beautiful World, Where Are You?” in Hebrew.

......

Literary BDS speaks to a willingness to close down communication with at least half the Jewish world and will come to little in the long run. Translation and its massive force in the global publishing industry is vastly more powerful than the refusal of any writer, or a group of writers, to permit translation of their work into a specific language.

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Reprinted in Baltimore Jewish Times: https://www.jewishtimes.com/opinion-sally-rooney-bds-and-the-power-of-translation/

The Irish novelist's decision not to publish her latest novel with an Israeli publisher reveals her fundamental ignorance about the actual relationship between Israeli literature, the Israeli establishment, and the Occupation.   Join TARB+ Reading about Sally Rooney's decision not to publish her latest novel, Beautiful World, Where Are You?, with an Israeli publisher, I was reminded of something that happened to me a few years ago. I was sitting with a few friends in the Sira Pub in Jerusalem when a swarm of Birthright participants invaded the venue, and began to instruct everyone on how to behave. They told the barman how to pull a pint, the DJ what music to play. One told me that, as a man, I was only allowed to use the urinal and not the toilet. It was sad, this lack of understanding from a group of young people who had come from the West to explain things to us. The barman already knew how to pull the perfect pint, and the DJ continued playing the weird music that the pub is famous for. As for the urinal I had been dispatched to: it was, in fact, a flower pot.

This article reads Ali Smith’s 2014 novel How to Be Both alongside Deborah Levy’s Hot Milk (2016) and Sally Rooney’s Conversations with Friends (2017). Using Lauren Berlant’s conception of neoliberal “crisis subjectivity” and Sara Ahmed’s vision of feminist wonderment as an antidote to the neoliberal “promise of happiness,” it argues that each novel considers what might be salvaged and what might grow from situations in which young women become attuned to their mutual incarceration in neoliberal time’s double bind. It contends that the forced improvisation and feminist reorientation undertaken by the protagonists can be analyzed through the lens of temporality. Finally, it contemplates how the disciplinary-specific modes through which the novels’ protagonists consider temporality might be connected to the specific literary projects of their authors.