This book was nominated for Commonwealth Book Prize 2012. A story about Lagos, Nigeria and the people who used to live in it : an unemployed family man struggling to keep life and love together; a crooked policeman with a dark, violent past and an even darker future; a disenchanted youth with a cannabis-drenched philosophy and a diabolic mission; a British fun-seeker who sees a promise of gold underneath all the garbage ; a migrant from the violent, oil-rich swamplands who came to the city seeking succor but alas all he reaps is more pain; an eponymous drifter from the hot, dozy and desert north, who must now aggressively protect his simple soul and subsequently his new bride ,from the madness all around ; a ghost that refused to die. ; and many millions more , perpetually awaiting the manifestation of elusive financial miracles.
Told in the first person by an unnamed narrator, it is a story of the last days of the two friends who were trying to beat the boredom. After a very long search, they turned to macabre and eventually the quest to end their devastating ennui led them to grave robbing. (Goodreads)
A través de una prosa límpida, Amado Nervo postula que toda la dicha humana reside en su precariedad: el goce seguro y durable no constituye felicidad alguna, sino ennui, spleen-, y extranas incursiones en los terrenos de la personalidad o conciencia doble o múltiple.
Handsome and ambitious, Julien Sorel is determined to rise above his humble peasant origins and make something of his life-by adopting the code of hypocrisy by which his society operates. Julien ultimately commits a crime-out of passion, principle, or insanity-that will bring about his downfall. The Red and the Black is a lively, satirical picture of French Restoration society after Waterloo, riddled with corruption, greed, and ennui. The complex, sympathetic portrayal of Julien, the cold exploiter whose Machiavellian campaign is undercut by his own emotions, makes him Stendhals most brilliant and human creation-and one of the greatest characters in European literature.
Amy est une jeune fille de 15 ans qui s'ennuie du quotidien. Quand elle rencontre Marie et son groupe d'amis à la rentrée de 3ème, elle va vivre des expériences inédites et sa vie va changer. Rien ne semble pouvoir les séparer, elle et sa bande. Mais parfois les apparences sont trompeuses...
Written in 1925, the novel opens with three gentleman friends - lawyer Sir Edward Leithen, banker John Palliser-Yeates, and Cabinet member Charles Lord Lamancha - discovering that they all suffer a common and debilitating malady, a loss of zest for life, all desperate to relieve the ennui that has engulfed them. The solution can only be something devilish, with a dash of daring. Enlisting the aid of another friend, Scottish landowner Sir Archibald Roylance, the trio contrives a plot to poach game - deer or salmon - from the hereditary lands of three of Archies Highland neighbors under the guise of an assumed false identity, John Macnab. On this, they stake their reputations and the danger proves innervating. This novel is a light interlude within the Leithen Stories series - an evocative look at the hunting, shooting and fishing lifestyle in Highland Scotland.
Sennuyer ... concerne tout le monde et toutes les époques ! Que lon soit une artiste peintre, une comptable, un chevalier du Moyen-Age, la Comtesse du Barry, une vache, un soldat en 1940 ou la Tour Eiffel, nous sommes tous confrontés à ce vilain parasite que constitue lennui. Cette série de nouvelle décrit des personnages qui ont tous en commun de sennuyer dans une vie monotone et grise et que cet ennui pousse à agir dune façon ... logique ou non, selon les circonstances personnelles et historiques. Même les vaches et les pianos peuvent le dire ! Micheline Cumant est violoncelliste et musicologue, auteur notamment dune méthode de violoncelle. Egalement romancière, elle a publié plusieurs ouvrages où la musique tient souvent un rôle important.
One February afternoon in the year 1822, about two oclock,-for this is the hour at which his day begins,-the most notorious personality of his century arouses himself, in the Palazzo Lanfranchi at Pisa. George Gordon Noel, Lord Byron, languidly arises and dresses, with the assistance of his devoted valet Fletcher. Invariably he awakes in very low spirits, in actual despair and despondency, he has termed it: this is in part constitutional, and partly, no doubt, a reaction after the feverish brain-work of the previous night. It is, at any rate, in unutterable melancholy and ennui that he surveys in the mirror that slight and graceful form, which had been idolised by London drawing-rooms, and that pale, scornful, beautiful face, like a spirit, good or evil, which the enthusiastic Walter Scott has termed a thing to dream of. He notes the grey streaks already visible among his dark brown locks, and mutters his own lines miserably to himself,-
This collection examines different aspects of attitudes towards disease and death in writing of the long eighteenth century. Taking three conditions as examples - ennui, sexual diseases and infectious diseases - as well as death itself, contributors explore the ways in which writing of the period placed them within a borderland between fashionability and unfashionability, relating them to current social fashions and trends. These essays also look at ways in which diseases were fashioned into bearing cultural, moral, religious and even political meaning. Works of literature are used as evidence, but also medical writings, personal correspondence and diaries. Diseases or conditions subject to scrutiny include syphilis, male impotence, plague, smallpox and consumption. Death, finally, is looked at both in terms of writers constructing meanings within death and of the fashioning of posthumous reputation. Allan Ingram is Emeritus Professor of English at the University of Northumbria, UK. He has published widely on eighteenth-century writing, with a particular interest in the relations between literature, medicine, and madness. His works in this field include The Madhouse of Language (1991) and Cultural Constructions of Madness (2005). Between 2006 and 2009 he was Director of the Leverhulme Trust project Before Depression, and was a Co-Director of the Leverhulme project, Fashionable Diseases, of which this volume is one outcome. He has edited Gullivers Travels (2012) and was co-editor of a four-volume set of source material, D epression and Melancholy 1660-1800 (2012). Most recently he co-edited a set of essays, Voice and Context in Eighteenth-Century Poetry (2015). Leigh Wetherall Dickson is Senior Lecturer in eighteenth and nineteenth-century literature at Northumbria University, UK. She began her career there as a post-doctoral Research Associate on the Leverhulme-funded Before Depression 1660-1800 project. She has written and published extensively upon the experience of presumed mental disease, and was the co-general editor and volume editor for Depression and Melancholy 1600-1800 (2012). She is now one of the directors of Fashionable Diseases: Medicine, Literature and Culture, ca. 1660-1832, also funded by the Leverhulme Trust for three years. Her current research focusses upon the relationship between fashion, fame, and illness in the long eighteenth century, and is particularly interested in how the pursuit of fame was viewed as a type of contagious disease.
On a certain cool, rainy evening in autumn, in a small château in Brie, three pensive individuals were gravely occupied in watching the wood burn on the hearth and the hands of the clock move slowly around the dial. Two of these silent guests seemed to give way unreservedly to the vague ennui that weighed upon them; but the third gave signs of open rebellion: he fidgeted about on his seat, stifled half audibly divers melancholy yawns, and tapped the snapping sticks with tongs, with a manifest intention of resisting the common enemy. This person, who was much older than the other two, was the master of the house, Colonel Delmare, an old warrior on half-pay, once a very handsome man, now over-corpulent, with a bald head, gray moustache and awe-inspiring eye; an excellent master before whom everybody trembled, wife, servants, horses and dogs. At last he left his chair, evidently vexed because he did not know how to break the silence, and began to walk heavily up and down the whole length of the salon, without laying aside for an instant the rigidity which characterizes all the movements of an ex-soldier, resting his weight on his loins and turning the whole body at once, with the unfailing self-satisfaction peculiar to the man of show and the model officer. ...