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Cherry: Now a Major Film Starring Tom Holland (English Edition) Versión Kindle
NOW A MAJOR MOTION PICTURE FROM APPLE TV+ STARRING TOM HOLLAND
Cleveland, Ohio, 2003. A young man is just a college freshman when he meets Emily. They share a passion for Edward Albee and ecstasy and fall hard and fast in love. But soon Emily has to move home to Elba, New York, and he flunks out of school and joins the army.
Desperate to keep their relationship alive, they marry before he ships out to Iraq. But as an army medic, he is unprepared for the grisly reality that awaits him. His fellow soldiers smoke; they huff computer duster; they take painkillers; they watch porn. And many of them die. He and Emily try to make their long-distance marriage work, but when he returns from Iraq, his PTSD is profound, and the drugs on the street have changed. The opioid crisis is beginning to swallow up the Midwest.
Soon he is hooked on heroin, and so is Emily. They attempt a normal life, but with their money drying up, he turns to the one thing he thinks he could be really good at - robbing banks.
Hammered out on a prison typewriter, Cherry marks the arrival of a raw, bleakly hilarious, and surprisingly poignant voice straight from the dark heart of America.
- IdiomaInglés
- EditorialVintage Digital
- Fecha de publicación28 febrero 2019
- Tamaño del archivo6726 KB
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"The rare work of literary fiction by a young American that carries with it nothing of the scent of an MFA program. . . . The voice Walker has fashioned has a lot in common with the one Denis Johnson conjured for his masterpiece Jesus' Son. . . . A novel of searing beauty." --Vulture
"A singular portrait of the opioid epidemic. . . . [Walker] writes dialogue so musical and realistic you'll hear it in the air around you." --The New York Times Book Review
"[An] unforgettable mix of doomed and dazzling. . . . There's a vivid, repulsive truth in the way Walker renders his subjects--a sort of social truth, stripped of morality, which is rare and riveting when it comes to the subjects of opioid addiction, intimate everyday cruelty, and endless, meaningless war." --The New Yorker
"Walker tells the story in a biting staccato, by turns shrewd, heartfelt, and repellent. . . . Cherry's descriptions of Army life are as acerbic and unsparing--and often darkly hilarious--as the boot-camp scenes from Full Metal Jacket." --Mother Jones
"Heavily indebted to the profane blood, guts, bullets, and opiate-strewn absurdities dreamed up by Thomas McGuane, Larry Brown, and Barry Hannah, Cherry tells a story that feels infinitely more real, and undeniably tougher than the rest." --The A.V. Club
"A funny, painful, and captivating work in which mundanity and horror (of war, of addiction, of depression) exist side by side." --LitHub
"With an unforgettable voice, the narrator relates his hellacious military service in Iraq, PTSD, and descent into addiction with desperation and propulsive intensity, sustained by a dark humor and associative structure evocative of Joseph Heller's Catch-22." --The National Book Review
"Unsparingly raw and utterly gripping. This is an astonishingly good novel, written by someone who clearly has a gift for storytelling. Walker's characters, even minor players and walk-ons, are beautifully drawn. His dialogue rings achingly true. . . . A masterpiece." --Booklist (starred review)
--Este texto se refiere a la edición kindle_edition .Detalles del producto
- ASIN : B077412Q85
- Editorial : Vintage Digital; N.º 1 edición (28 febrero 2019)
- Idioma : Inglés
- Tamaño del archivo : 6726 KB
- Texto a voz : Activado
- Lector de pantalla : Compatibles
- Tipografía mejorada : Activado
- X-Ray : No activado
- Word Wise : Activado
- Notas adhesivas : En Kindle Scribe
- Longitud de impresión : 338 páginas
- Números de página - ISBN de origen : 0593315480
- Clasificación en los más vendidos de Amazon: nº308,472 en Tienda Kindle (Ver el Top 100 en Tienda Kindle)
- nº1,309 en Humor negro
- nº2,398 en Acción bélica y militar
- nº4,051 en Ficción bélica
- Opiniones de los clientes:
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Cherry is basically a brilliantly accomplished work of neo-realism, which supplies a very plausible account of how a lot of young Americans at the lower end of the social scale live their lives. It’s also probably the greatest war novel to come out of American writing since that generation of writers who served in the Second World War and published fiction like The Young Lions and The Naked and the Dead.
The prose is stripped-down and laconic. It creates a world which is simultaneously both bleak and comic (one chapter begins: “There was nothing better than to be young and on heroin.”) This novel is not for readers who like elegant polished writing, plots as perfect as a jigsaw, and affluent characters whose appearance, clothes and homes are described in exquisite detail. Nico Walker’s characters have no inner lives, apart from the narrator. They have crappy jobs and eat junk food. They exist largely as names and dialogue. There is an emotional blankness as one thing follows another: more sex, more drugs.
The central section of the novel, set in Iraq, is remarkable. It shows the reality of the American occupation. Bored troops pass the time taking drugs or watching porn or torturing mice. One female soldier sells herself for dollars. The troops look forward to killing Iraqis. Some hustle for a medal they don’t deserve. One thing happens after another but nothing adds up to anything. People quarrel. People lose limbs or die. A soldier called North, disappointed that he’s missed the chance to kill anyone, fires his weapon across a river into an island overgrown with date palms: “That was just North acting out.” It’s a futile gesture which calls to mind the ship firing blindly at the African coast in Joseph Conrad’s Heart of Darkness. Another scene involving cheerleaders visiting the troops is reminiscent of a scene in the movie Apocalypse Now.
The prose is stripped-down and laconic. The novel name-checks two writers - J.D. Salinger and Kurt Vonnegut - who were plainly inspirational for the deadpan, emotionally distanced voice of the narrator, and for the whimsy and irony that nudges the surface of the action. If you like your comedy very bleak and very dark than you’ll enjoy this book, which is often painfully funny. I found it far more compelling than almost everything which passes for literary fiction nowadays. But if your idea of a good novel is something by Hilary Mantel, Ian McEwan or Kazuo Ishiguro, then Cherry probably isn’t for you. It is not a comfortable read or one which offers relaxing beautifully written entertainment and a gripping, page-turning plot. Cherry is a picaresque tale of daily survival involving lives which don’t seem to be going anywhere. It is also probably the first genuinely classic novel to come out of the twenty-first century United States of America

I came to the book after seeing the film (which I loved), and was surprised how many lines have been taken out of the book for the film, but the storyline is very different.
The most distracting difference was that the author was already doing all sorts of drugs long before he returned from Iraq - just not heroin at that point. I didn't feel that it represented the themes in the film, which is the main character got hooked on drugs due to the PTSD.
I found this very much an autobiography, but it wasn't written well. Lots of the terminology that the author used was very coloquial, which makes it difficult to understand, and the time in the army was full of abbrievations which I couldn't decipher, and distracted me from what was being said. It was very anecdotal and some of them didn't make sense.
I wanted to like this book, but it just became more and more difficult to follow.

It's hard to build up any kind of empathy or emotional connection with a narrator who tells a story with such apathy. The title section "Cherry" also includes lots of abbreviations, military references and names which are hard to grasp. I'm sorry to say, by the time I got to the final act, I really didn't care what happened.
Kudos to the author for writing this on a typewriter in prison and for the publishers on taking a chance on him, but apart from a nice turn of phrase here and there, it didn't hit the mark. There is a powerful story under here somewhere, shame it was delivered with a shrug.

