Grau: Ein Eddie-Russett-Roman by Jasper Fforde

By Jasper Fforde

Es läuft intestine für Eddie Russett: Seine Rotsicht ist exzellent, er wird mit etwas Glück auf der Farbskala nach oben heiraten, und sein Leben plätschert angenehm ereignislos dahin - bis zu dem Tag, an dem er sich unrettbar und wider jede Vernunft verliebt. Denn Jane ist nicht nur geheimnisvoll und wunderbar stupsnasig, sie ist auch komplett farbenblind und gehört damit der gesellschaftlichen Unterschicht an: eine Graue! Jane hebt Eddies geordnete Welt aus den Angeln: Plötzlich hat er einflussreiche Feinde, wird mit unbequemen Wahrheiten konfrontiert, und zu allem Überfluss versucht seine Angebetete auch noch immer wieder, ihn umzubringen. Denn Jane hütet ein hochexplosives Geheimnis, und Eddie weiß bereits zu viel ...

"Grau" ist das neue Meisterwerk des britischen Erfolgsautors Jasper Fforde. Ein spektakuläres Ideenfeuerwerk und phantastisches Abenteuer um Liebe, Verrat und die unüberschätzbare Macht der Neugier.

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The entire subcontinent of India to be put in order, to be ventilated, to be drained. 81 Woodham-Smith confesses to be wearied by the mere contemplation of the work Nightingale performed from her sickbed. "Work always loomed ahekd of her, mountains of it, endless labor, endless toil which somehow must be struggled through" (225). All this frantic activity — urgent, momentous, unlimited in scope, incalculable in effect kept her as insulated from the common concerns of life, the dreadful pull of the mundane chores and sapped energies that she associated with the life of the idle and ornamental woman of her class, as did the invalid life in which she immured herself.

92 The danger seems to be the possible collapse of those gender distinctions which preserve the female attributes he is attracted to and insure the continued empowerment of the male. Linked to the danger attendant upon such a loss of definitive distinctions, and perhaps underlying its terror, is the threat of a thoroughly ontological crisis - a frightening indeterminacy of being most graphically presented in The Princess by the "weird seizures" of the prince: " O n a sudden in the midst of men and day," the prince recounts, And while I walk'd and talk'd as heretofore, I seemed to move among a world of ghosts And feel myself the shadow of a dream.

47 George Eliot notes in "Janet's Repentance" that "here in the sickroom there are no selfquestionings, no weighing of consequences"; and Harriet Martineau cites among the "gains and sweets of invalidism" the "extinction of concern" about "the ordinary objects of life" and "the abolition of the future, of our own future in this life" (LSR 197). The sickroom marginalizes, in other words, the requisite attributes of mimetic realism - the significance of details (in particular the details that make familiar intercourse difficult), of causal relations, of ordinary life, and of temporal sequence, while still invoking them by its very nature.

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