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Cosmopolis (Inglés)

4.7 de un máximo de 5 estrellas 3 opiniones de clientes

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Detalles del producto

  • Tapa blanda
  • Idioma: Inglés
  • ISBN-10: 0330412752
  • ISBN-13: 978-0330412759
  • Valoración media de los clientes: 4.7 de un máximo de 5 estrellas  Ver todas las opiniones (3 opiniones de clientes)
  • Clasificación en los más vendidos de Amazon: nº379.981 en Libros (Ver el Top 100 en Libros)

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Formato: Versión Kindle Compra verificada
I was surprised to see that Cosmopolis was first published in 2003, because the story seems to be taking place now, in the days of occupy Wall Street and endless revelations of corporate irresponsibility and corruption. I loved the main character's examination of language throughout the story - his assessment of certain words and expressions as inadequate, obsolete, detached from the world as it stands today... This is one I will read again.
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Formato: Versión Kindle Compra verificada
I was surprised to see that Cosmopolis was first published in 2003, because the story seems to be taking place now, in the days of occupy Wall Street and endless revelations of corporate irresponsibility and corruption. I loved the main character's examination of language throughout the story - his assessment of certain words and expressions as inadequate, obsolete, detached from the world as it stands today... This is one I will read again.
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Formato: Tapa blanda Compra verificada
Si te gustó la película, ésta es una buena adaptación bastante literal del libro. Corto pero intenso, de los que te hacen pensar. Muy buen precio. Bien embalado.
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Opiniones de clientes más útiles en (beta)

70 de 76 personas piensan que la opinión es útil
HASH(0x9d67f7e0) de un máximo de 5 estrellas A fine book. A worthwhile read. I hated it! 5 de marzo de 2005
Por Linda Linguvic - Publicado en
Formato: Tapa dura
I was reluctant to read this novel even though it was highly recommended. That's because five years ago I read and reviewed "Underworld", another of this author's novels, and while I thought that the writing was brilliant, his world view was very disturbing. But I was curious about Cosmopolis. And it was short, a mere 209 pages long, a book I knew I could easily read in one sitting. It took me more than one sitting to read however. It actually took me several weeks. That's because every time I put it down, I was reluctant to pick it up again. Perhaps that's because it rings so true and its blows fall so close to home. And, of course, the disturbing world view I had expected was there in all its glory.

The characters aren't real. They're not supposed to be. Everything in this book is larger than life. And everything has an exaggerated bitter sting to it. The setting is New York City and the geography is familiar. It's some time in the very near future, when big-moneyed corporate executives rule the world even more than they do now. Eric, a 28-year old billionaire is one of them. The storyline is about him setting out to get a haircut and all the action takes place in a single day.

Eric is in a white limousine which is equipped with every convenience the author could think of. He has several bodyguards too, and a market analyst who interprets data from world markets constantly. People visit him in his limo, including a doctor who gives him a daily physical. Eric also manages to have romantic encounters with three different women as well as his wife. He makes choices that have him lose his fortune in the stock market. His car is attacked by anarchists. He has to pause and watch a funeral for a rap musician. And he even gets involved in working as an extra in a strange and upsetting film. And, early on in the book, the reader knows Eric is hurtling towards real disaster.

But the book is more than this storyline of course. It is an indictment of the capitalist system that once held out such hope. It shows the shallowness of the people, making every single character seem like a little marionette on strings and the whole tale one big puppet show.

This is a fine book. It is a worthwhile read. I just can't help it though. I hated it.

Recommended only for literary buffs who relish discomfort.
68 de 75 personas piensan que la opinión es útil
HASH(0x9d67f7a4) de un máximo de 5 estrellas Great Prose but Pretty Dry 1 de mayo de 2003
Por Jeffrey Leach - Publicado en
Formato: Tapa dura
I should profess that I have never read a novel by Don DeLillo before diving into "Cosmopolis." Sure, I have heard of "White Noise," "Underworld," and "Libra" before, but decided to start with this new, short novel about a billionaire stock tycoon and his trip through the wilds of New York City. DeLillo seems to possess many fans in the literary world, rabid readers who devour everything this guy decides to pass off on the public. I usually see him associated with people like Pynchon or Gaddis, post-modern writers who create sprawling works of endless complexity and dubious quality. Since my experiences with the post-modern genre are slight at best, all I have to go on is my experiences with this book.
The plot seems simple enough. Eric Packer, a twenty eight year old Wall Street whiz, decides he wants to get a haircut. Moreover, he sets out on his excursion in a giant, cork lined white limousine with his bodyguards, advisors, doctors, and drivers in tow. Along the way, Packer undergoes a physical examination of a most personal nature, runs into his new wife at various places, witnesses an anarchist protest, gets attacked with a cream pie, becomes emotional about a rapper's funeral, and discovers someone is stalking him with a view to causing serious injury. There is little that ties these events and encounters together, as even the quest for a haircut often drops into the background when Packer bogs down in New York City traffic. Surrounded by computers and an endless flow of information, the billionaire spends most of his time waxing philosophic about the state of the world, the state of his mind, and the state of his attempt to make a killing off the Japanese yen. Ultimately, that is all this novel seems to do: throw out endless noodlings about the emptiness of life in the high tech, over stimulated information age.
DeLillo's writing style is the best thing going for "Cosmopolis." Infused with deep cynicism and a measurable detachment, it still crackles with crisp, short sentences that convey much with little ado. The problem comes when the language puts too much out there, when the reader starts to bog down under the endless litany of Packer's mental ramblings. Although this book is extremely short and can be finished in a day, it still seems too long at times. If there is any point to this tale, or at least where the point seems to assume clarity, it is when Packer and his "advisor on theory" discuss the meaning of the ticker boards with their endless scroll of information and the implications of self-immolating oneself to protest capitalism. Eric's accumulation of information threatens to overwhelm his existence because all he possesses is random bits of information. He cannot seem to tie it all together into any relevant meaning other than making money. There seems to be a germ of hope for him towards the end of the story, but most of the book is merely cerebral gymnastics.
The message of "Cosmopolis," about a man who has everything but wilts under his own inflated ego and goes off on a rampage, is definitely familiar. Bret Easton Ellis did something similar in "American Psycho," and he did it better. Eric Packer and Patrick Bateman are blood brothers, albeit relatives separated by about twenty years. When will these Wall Street archetypes' meltdowns have finality to them? Probably when the capitalist system finally collapses. In the meantime, we have people like Ellis and DeLillo dutifully reporting the carnage of undreamt of riches on the souls of humanity.
Many people out there are quite knowledgeable about DeLillo's body of work and the philosophy that powers them. I can draw no firm conclusions about this author from reading just one of his books. But I strongly suggest thinking twice before plunging into "Cosmopolis." It takes too much effort for too little return.
23 de 26 personas piensan que la opinión es útil
HASH(0x9d5f2138) de un máximo de 5 estrellas Think outside the box . . . WAY outside 29 de mayo de 2003
Por Diana Poskrop - Publicado en
Formato: Tapa dura
The 'plot' is a limo ride through a major city. But it's a one-day excursion as much as is Joyce's 'Ulysses.' That one day may just as well be a year, a lifetime or an era. Time is distorted; events are surreal; what seems coincidental, isn't. Don't expect everything to make sense in a rational, cognitive way.
A man begins his day with everything, and ends it with nothing. His ideas, beliefs and body slowly lose their integrity. The story is not a puzzle with clearly edged chunks of interlocking pieces, but a constantly spinning web whose strands are spun by employees, lovers, a wife and a barber. As the story evolves, the man devolves. There's dry wit and Monty Pythonesque lunacy. There's the microcosm reflected in the macrocosm and vice versa. Even when inane, the ideas expressed are fascinating.
COSMOPOLIS sometimes enlightened me, and other times confused me. After my mind digests it a bit, I'll read it again.
15 de 17 personas piensan que la opinión es útil
HASH(0x9d67ffe4) de un máximo de 5 estrellas a challenge and a pleasure 14 de abril de 2003
Por Daniel A. Johnson - Publicado en
Formato: Tapa dura
There are a lot of people who say that DeLillo doesn't create characters, but rather automatons that spit out obscure theses. These are the same people that think that Platonic dialogues are about what Plato thought rather than what Athens was. DeLillo's characters are not mouthpieces; the ideas these characters voice are indications of the ordering -- or disordering -- of their souls. Like Plato, DeLillo is probing the emotional life of ideas.
Eric Packer, the protagonist, is the epitome of the class of get-rich-quick internet tycoons that came about in the 90s. What marks him as a member of this class is his faith in the power of information technology to predict the future and thus make the future bend to the will of the present. His lusts and manias are a diagnosis of a certain overreaching mindset from which we have not entirely freed ourselves.
However, what distinguishes Eric from his class is that his faith in information technology amounts to being a real religious devotion. Eric is a continuation of DeLillo's investigation into modern manifestations of the desire for religious trascendence. To paraphrase DeLillo, when the old God leaves the world, what happens to all the leftover faith? Eric clings to computer screens the way people once clung to holy texts. In his delusion, he experiences information as a communion with the whole of reality as such: reading a computer screen, he thinks, "Here was the heave of the biosphere. Our bodies and oceans were here, knowable and whole."
But he is also a sort of Oedipus. He does not know who he is. His turn towards technology is a way of escaping something in himself, a past that haunts him. In the end, the book is a story about a man losing his faith and rediscovering, for better and for worse, all the things from which his faith was an escape.
To be sure, this novel is not for everyone. For one thing, DeLillo never really decides whether he wants his fiction to be placed in a realistic or theoretical landscape -- is this our world or some imagined, symbolic world? Perhaps in 50 years we will thank him for refusing to make such a distinction, but for now, the book strains one's ability and willingness to become attuned to it. At the same time, he is moving away from the Joycean lushness of his earlier style towards a Beckettian starkness that many readers will find taxing.
Nevertheless, the book is special for refusing to be what a book is supposed to be. Like the later experimental work of John Coltrane, Cosmopolis is at once exhausting and invigorating.
9 de 10 personas piensan que la opinión es útil
HASH(0x9d67fa14) de un máximo de 5 estrellas A Yen is not just a unit of currency. 1 de febrero de 2004
Por A DC Reader - Publicado en
Formato: Tapa dura
The dismissive reviews I read of Cosmopolis made me hesitate to buy it. After reading a library copy, I bought Cosmopolis to read a second time. I figure buying the book is the best vote cast in its favor.
Cosmopolis is not a facile entertainment. It requires work on the reader's part. Delillo is exploring territory that, by its nature, eludes description. The mind has well-evolved strategies for perceiving and reacting to the world; non-rational strategies largely inaccessible to waking consciousness; strategies that worked for millennia, now effectively shunted aside and concealed from view - even while they operate continuously in clandestine ways. How do you view or talk about this hidden stuff? You can't name it because language by nature is rational and this, by its nature, is not.
Delillo gives us a metaphor. Cosmopolis. It is incongruous. It doesn't match our world or its usual fictionalized portraits. The reader tries to fit the world s/he knows with the metaphor - it can't be done, it's incongruous. But in trying, the reader starts to sense an opening into something that is neither our world nor its metaphor Cosmopolis, something rising out of the tension between them.
The book is an exploration into the tension between the normal surface of things and an animating underworld we know is there but hardly know. Reading, rereading Cosmopolis, thinking about it is like opening a door in the mind that leads to rooms not often visited.

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