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Pinball
Jerzy Kosinski's best-selling novel Pinball, which he wrote for George Harrison, is a rock 'n' roll mystery centered on a superstar named Goddard who has, despite his success, managed to keep his identity a secret, even from his closest friends. But a beautiful young woman, obsessed with finding Goddard, stalks him relentlessly, driven by a secret goal that justifies all means.
Ricocheting with humor and bursting with erotic intensity, Pinball is a game as intricate, unpredictable, suspenseful, and complex as life.
Ricocheting with humor and bursting with erotic intensity, Pinball is a game as intricate, unpredictable, suspenseful, and complex as life.
310 pages, Paperback
First published January 1, 1982
37 people are currently reading
544 people want to read
About the author
Jerzy Kosiński
61 books610 followersKosiński was born Josef Lewinkopf to Jewish parents in Łódź, Poland. As a child during World War II, he lived in central Poland under a false identity his father gave him to use, Jerzy Kosiński. A Roman Catholic priest issued him a forged baptismal certificate. The Kosiński family survived the Holocaust thanks to local villagers, who offered assistance to Jewish Poles often at great personal risk (the penalty for assisting Jews in Nazi-occupied Poland was death). Kosiński's father received help not only from Polish town leaders and churchmen, but also from individuals such as Marianna Pasiowa, a member of the Polish underground network helping Jews to evade capture. The family lived openly in Dąbrowa Rzeczycka near Stalowa Wola, and attended church in nearby Wola Rzeczycka, obtaining support from villagers in Kępa Rzeczycka. They were sheltered temporarily by a Catholic family in Rzeczyca Okrągła. The young Jerzy even served as an altar boy in a local church.
After World War II, Kosiński remained with his parents in Poland, moved to Jelenia Góra, and earned degrees in history and political science at the University of Łódź. He worked as an assistant in Institute of History and Sociology at the Polish Academy of Sciences. In 1957, he emigrated to the United States, creating a fake foundation which supposedly sponsored him; he later claimed that the letters from eminent Polish communist authorities guaranteeing his loyal return, which were needed for anyone leaving the communist country at that time, had all been forged by him.
After taking odd jobs to get by, such as driving a truck, Kosiński graduated from Columbia University, and in 1965 he became an American citizen. He received grants from Guggenheim Fellowship in 1967, Ford Foundation in 1968, and the American Academy in 1970, which allowed him to write a political non-fiction book, opening new doors of opportunity. In the States he became a lecturer at Yale, Princeton, Davenport University, and Wesleyan.
In 1962 Kosiński married Mary Hayward Weir who was 10 years his senior. They were divorced in 1966. Weir died in 1968 from brain cancer. Kosiński was left nothing in her will. He later fictionalized this marriage in his novel Blind Date speaking of Weir under pseudonym Mary-Jane Kirkland. Kosiński went on to marry Katherina "Kiki" von Fraunhofer, a marketing consultant and descendant of Bavarian aristocracy. They met in 1968.
Kosiński suffered from multiple illnesses towards the end of his life, and was under attack from journalists who alleged he was a plagiarist. By the time he reached his late 50s, Kosiński was suffering from an irregular heartbeat as well as severe physical and nervous exhaustion. Kosiński committed suicide on May 3, 1991, by taking a fatal dose of barbiturates. His parting suicide note read: "I am going to put myself to sleep now for a bit longer than usual. Call it Eternity".
After World War II, Kosiński remained with his parents in Poland, moved to Jelenia Góra, and earned degrees in history and political science at the University of Łódź. He worked as an assistant in Institute of History and Sociology at the Polish Academy of Sciences. In 1957, he emigrated to the United States, creating a fake foundation which supposedly sponsored him; he later claimed that the letters from eminent Polish communist authorities guaranteeing his loyal return, which were needed for anyone leaving the communist country at that time, had all been forged by him.
After taking odd jobs to get by, such as driving a truck, Kosiński graduated from Columbia University, and in 1965 he became an American citizen. He received grants from Guggenheim Fellowship in 1967, Ford Foundation in 1968, and the American Academy in 1970, which allowed him to write a political non-fiction book, opening new doors of opportunity. In the States he became a lecturer at Yale, Princeton, Davenport University, and Wesleyan.
In 1962 Kosiński married Mary Hayward Weir who was 10 years his senior. They were divorced in 1966. Weir died in 1968 from brain cancer. Kosiński was left nothing in her will. He later fictionalized this marriage in his novel Blind Date speaking of Weir under pseudonym Mary-Jane Kirkland. Kosiński went on to marry Katherina "Kiki" von Fraunhofer, a marketing consultant and descendant of Bavarian aristocracy. They met in 1968.
Kosiński suffered from multiple illnesses towards the end of his life, and was under attack from journalists who alleged he was a plagiarist. By the time he reached his late 50s, Kosiński was suffering from an irregular heartbeat as well as severe physical and nervous exhaustion. Kosiński committed suicide on May 3, 1991, by taking a fatal dose of barbiturates. His parting suicide note read: "I am going to put myself to sleep now for a bit longer than usual. Call it Eternity".
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Displaying 1 - 30 of 63 reviews
aborted-efforts
March 19, 2011I suspected this might wind up being awesomely craptastic, but to my profound disappointment it was just crap.
June 2, 2009
I'm actually fairly unsure about what I thought of this book. There was a lot I liked about it; I loved the way that Kosinski talks about music throughout it, and I think that the character of an anonymous artist like Goddard is inspired. I found myself imagining Goddard's music to sound like Daft Punk, which I realize is a bit of an anachronism, but it seems to fit somehow.
There were two main things that I didn't like about the book, at the same time. The first was what appeared to be some subtle passive racism regarding the character of Donna. She's the only black character in the book, and she is presented as an overly sexualized, petty character, and she's written in a way that seems to suggest that she is that way because of her ethnicity. The other thing is the ending of the book. For the first 9/10ths of the book, it's primarily a character-driven piece, with little true plot to speak of, and then it turns into a much more plot-driven piece right at the very end, which is a little jarring.
Overall, I'd give it a tentative recommendation if you're a music lover.
There were two main things that I didn't like about the book, at the same time. The first was what appeared to be some subtle passive racism regarding the character of Donna. She's the only black character in the book, and she is presented as an overly sexualized, petty character, and she's written in a way that seems to suggest that she is that way because of her ethnicity. The other thing is the ending of the book. For the first 9/10ths of the book, it's primarily a character-driven piece, with little true plot to speak of, and then it turns into a much more plot-driven piece right at the very end, which is a little jarring.
Overall, I'd give it a tentative recommendation if you're a music lover.
April 6, 2014
This is a book that I wanted to like. I found a beaten-up copy in the bottom of a box in an office in Tokyo. The central conceit is interesting, and, as another reviewer has pointed out, the theme of the emptiness of modern culture is worthwhile and just as valid today as it was when this was first published. This should have been a good novel, as it has all the right ingredients.
Unfortunately, 'Pinball' is simply badly written. The passages on classical music read like the author just opened up a music dictionary and copied out whole chunks. This stylistic shift is especially jarring with the stuff about Chopin. The bits on Hendrix are much the same. In fact, the only places where the author seems to be writing with an 'authentic' voice are in descriptions of kinky (albeit sordidly repetitive) sex, or where white characters level racist slurs against the black pianist Donna.
Perhaps Kosinski's other works are brilliant, and this is an aberration, but I confess to having little desire to find out...unless I happen to come across a dusty copy of another of his books at the bottom of a box somewhere!
Unfortunately, 'Pinball' is simply badly written. The passages on classical music read like the author just opened up a music dictionary and copied out whole chunks. This stylistic shift is especially jarring with the stuff about Chopin. The bits on Hendrix are much the same. In fact, the only places where the author seems to be writing with an 'authentic' voice are in descriptions of kinky (albeit sordidly repetitive) sex, or where white characters level racist slurs against the black pianist Donna.
Perhaps Kosinski's other works are brilliant, and this is an aberration, but I confess to having little desire to find out...unless I happen to come across a dusty copy of another of his books at the bottom of a box somewhere!
May 24, 2007
It is really too bad that some reviewers missed so much of what was going on in this novel. It is NOT about rock and roll. It
IS about the conflict between the disposable pop culture which
is America's primary export to the world and the "high" culture
of the old world which is aimed primarily at the intellectual elite. It is also about the areas in which these two cultures
cross, as well as clash.
IS about the conflict between the disposable pop culture which
is America's primary export to the world and the "high" culture
of the old world which is aimed primarily at the intellectual elite. It is also about the areas in which these two cultures
cross, as well as clash.
March 22, 2019
Kosinski’ye bak la ne ariyor burda. Sokak arasi sahafi. Hani bole dukkan mukkan yok. Koymus sokaga satiyo adam. Onca kitabin arasinda gordum Kosinki’yi. Oldukca da eski bir basim. Ama hemen aldim. Altin yere dusmeyinen pul olmaz demisler. iyi ki de almisim. Aferin bana.
Goddard denen bir sarkici var. Pop-rock gibi bisey yapiyo. Herkesler bayiliyo. Albumleri milyonlar satiyo ama kendisini gorebilen yok. Sadece albumler var piyasada ama Goddard yok. Hani 90’li yillarda bizde de vardi bi “mechul sarkici”. Onun gibi. (Erhan Guleryuz oldugu cok soylendi sonralari). (Kitap yorumlarima magazinde soktum ya).
Bir takintili kiz var. Oldukca oynak, hafif mesrep bir kiz. Zaten Kosinski cinselligi cok kullaniyor. Ve siradanlastiriyor. Kitapta oldukca fazla cinsellik var.
Bu kizcagiz (Andrea) artik isten gucten elini etegini cekmis 50 li yaslarda ki bir muzisyenle tanisiyor. Domostroy. Donostroy oldukca zeki biri. Zamaninda da Goddard’in simdi sahip oldugu sohreti yakalamis biri. Tam sanatci kafasi adam. Sıkkın bıkkın doymuş bir tip. Bohem biraz. Şöhret möhret kasıyor arkadaşı. Hala arada tanıyanlar falan oluyo, bunun canı sıkılıyo tanındığına.
Andrea bunun kanına giriyor ve Goddard’ı bulmaya yardım edeceğime söz veriyor. Burada detay şu.
Andrea biliyor ki Goddard kendisinden daha zeki. Ne kadar uğraşırsa uğraşsın onun kimliğini asla ortaya çıkaramaz. Andrea’nın sermayesi masum güzelliği ve vücudu. Zekasına güvenip yola çıkarsa hiç bişey elde edemeyeceğini hatta kendisi Goddard’ı farketmeden Goddard’ın kendisini farketme ihtimali de çok yüksek. Bu da Goddard’ın sonsuza kadar yok olması demek. Dolayısıyla kendisinden daha zeki birine ihtiyacı olduğunu anlayabilecek kadar zeki Andrea. (Ne kadar ağır bi durum değil mi ya? Yeteri kadar zeki olmadığını bilecek kadar zeki olmak). Ve Domostroy’u buluyor.
Domostroy’sa böyle meydan okumalarda hayat buluyor. Yaşadığını hissediyor. Yoksa hayat onun için daha önce izlediği kötü bir filmi ikinci kere izlemekten farklı değil. Goddard’ı bulmak ve bununla da kalmayıp onu Andrea’ya aşık etmek. İşte sana sanat.
Goddard ise oldukça zengin bir müzik şirketi sahibinin pısırık oğlu. Babasının baskısından ve erkenden annesini kaybetmiş olmaktan dolayı ezik biri. Oysa ki o bir deha. Her ne kadar Domostroy Goddard’ı pek beğenmese de Goddard halkın gözünde bir ilah. Ama clarl kent’ken tam bir ezik. Üstelik babasının dandik müzik şirketini de ayakta tutan Goddard yani kendisi. Ama bunu kimseye söyleyemiyor.
Ve bir gün Goddard, Andrea isimli bir kızdan gizemli mektuplar almaya başlıyor. Tabi bu isimsiz imzasız mektupları yazan Andrea falan değil. Elbette ki Domostroy.
Oltaya yakalanan Goddard yavaş yavaş tuzağa ilerliyor ve yakalanıyor.
Ancak sürprize bakın ki Andrea Goddard ve Domostroy’un aynı anda orada olduğu anda ikisine de silah çekiyor ve paralarını istiyor. Ancak en sonunda ölen kendisi oluyor. Goddard gene kayıplara karışıyor. Onun kim olduğunu bilen tek kişi ise Domostroy. Öğrendikten sonra Domostroy için hiç bir değeri kalmıyor.
Güzel kitap. Lise üniversite gibi okunur.
Goddard denen bir sarkici var. Pop-rock gibi bisey yapiyo. Herkesler bayiliyo. Albumleri milyonlar satiyo ama kendisini gorebilen yok. Sadece albumler var piyasada ama Goddard yok. Hani 90’li yillarda bizde de vardi bi “mechul sarkici”. Onun gibi. (Erhan Guleryuz oldugu cok soylendi sonralari). (Kitap yorumlarima magazinde soktum ya).
Bir takintili kiz var. Oldukca oynak, hafif mesrep bir kiz. Zaten Kosinski cinselligi cok kullaniyor. Ve siradanlastiriyor. Kitapta oldukca fazla cinsellik var.
Bu kizcagiz (Andrea) artik isten gucten elini etegini cekmis 50 li yaslarda ki bir muzisyenle tanisiyor. Domostroy. Donostroy oldukca zeki biri. Zamaninda da Goddard’in simdi sahip oldugu sohreti yakalamis biri. Tam sanatci kafasi adam. Sıkkın bıkkın doymuş bir tip. Bohem biraz. Şöhret möhret kasıyor arkadaşı. Hala arada tanıyanlar falan oluyo, bunun canı sıkılıyo tanındığına.
Andrea bunun kanına giriyor ve Goddard’ı bulmaya yardım edeceğime söz veriyor. Burada detay şu.
Andrea biliyor ki Goddard kendisinden daha zeki. Ne kadar uğraşırsa uğraşsın onun kimliğini asla ortaya çıkaramaz. Andrea’nın sermayesi masum güzelliği ve vücudu. Zekasına güvenip yola çıkarsa hiç bişey elde edemeyeceğini hatta kendisi Goddard’ı farketmeden Goddard’ın kendisini farketme ihtimali de çok yüksek. Bu da Goddard’ın sonsuza kadar yok olması demek. Dolayısıyla kendisinden daha zeki birine ihtiyacı olduğunu anlayabilecek kadar zeki Andrea. (Ne kadar ağır bi durum değil mi ya? Yeteri kadar zeki olmadığını bilecek kadar zeki olmak). Ve Domostroy’u buluyor.
Domostroy’sa böyle meydan okumalarda hayat buluyor. Yaşadığını hissediyor. Yoksa hayat onun için daha önce izlediği kötü bir filmi ikinci kere izlemekten farklı değil. Goddard’ı bulmak ve bununla da kalmayıp onu Andrea’ya aşık etmek. İşte sana sanat.
Goddard ise oldukça zengin bir müzik şirketi sahibinin pısırık oğlu. Babasının baskısından ve erkenden annesini kaybetmiş olmaktan dolayı ezik biri. Oysa ki o bir deha. Her ne kadar Domostroy Goddard’ı pek beğenmese de Goddard halkın gözünde bir ilah. Ama clarl kent’ken tam bir ezik. Üstelik babasının dandik müzik şirketini de ayakta tutan Goddard yani kendisi. Ama bunu kimseye söyleyemiyor.
Ve bir gün Goddard, Andrea isimli bir kızdan gizemli mektuplar almaya başlıyor. Tabi bu isimsiz imzasız mektupları yazan Andrea falan değil. Elbette ki Domostroy.
Oltaya yakalanan Goddard yavaş yavaş tuzağa ilerliyor ve yakalanıyor.
Ancak sürprize bakın ki Andrea Goddard ve Domostroy’un aynı anda orada olduğu anda ikisine de silah çekiyor ve paralarını istiyor. Ancak en sonunda ölen kendisi oluyor. Goddard gene kayıplara karışıyor. Onun kim olduğunu bilen tek kişi ise Domostroy. Öğrendikten sonra Domostroy için hiç bir değeri kalmıyor.
Güzel kitap. Lise üniversite gibi okunur.
This entire review has been hidden because of spoilers.
June 1, 2011
Sigh. I thought I'd get more out of Kosinski, especially since he wrote the Painted Bird. I think lightening may have struck only once. Incredibly predictable ending. The surfeit of classical/pop/punk music research made it seem like the plot and other things were mostly secondary. Not his best. Also, compare this whole book to the part in (if my memory serves me correctly) the Unbearable Lightness of Being (perhaps Book of Laughter and Forgetting by another eastern European author), where he (Kundera?) talks about the dilapidation of music ever since the guitar was invented. Yet another terrible observation that made it through the editing process. Anyway, back to Pinball.
The basic premise of the story is about a mysterious musician, whose music is the as hot and sweet as jalepeno jam. All the characters are forgettable.
The basic premise of the story is about a mysterious musician, whose music is the as hot and sweet as jalepeno jam. All the characters are forgettable.
November 27, 2024
The cover and the jacket description are way cooler and more interesting than anything that happens in the book....justice for George Harrison
January 15, 2016
A fun, strange read. While it is a far cry from the depth and heft of The Painted Bird and Steps, it demonstrates Kosinski's precision in putting together a well-crafted pulp novel. I originally picked up this book after hearing that it was inspired by Kosinski's frienship with George Harrison (yes, that George Harrison, of Beatles fame who penned 'Something'.) I had no idea what I was getting into, and discovered that the novel has several Easter eggs that reveal Kosinski's passion for classical music and his own struggles as a great writer who is past his prime.
The novel is structured loosely after the model of a symphony -- in four parts, with each part focusing in and developing a major character in the novel (while propelling an overarching plot), similar to the way composers develop central themes within each movement. And, as in a great romantic symphony, they all come together in an exciting climax in the last movement.
The first "movement" focuses on a burned-out former classical composer, relegated to performing piano sets in late night dance parlors in New York. The parallels between this composer and Kosinski are only thinly veiled, his first major piece that established his career is called "The Bird of Quintain" -- a painted bird on wood used in jousting -- and he wins International acclaim for a piece called Octaves (...sounds about as minimal as Steps...) The composer's sad routine is interrupted when he is commissioned by a young drama student of Juilliard to help her find Goddard, the reclusive rock superstar who no one has ever actually met in person. In typical Kosinski fashion, their relationship is filled with wild sexcapades, replete with photo-shoots.
Kosinski satiates our curiosity as to who is Goddard with the second movement. The rock star leads a double life, acting almost as a secret agent, maintaining an intimate relationship with a Juilliard pianist while escaping to a private recording mansion in the Southwest to pump out the next double-platinum album.
The third movement, true to form, is a love story. Goddard and the pianist break up, the composer pursues the pianist while Goddard pursues the Juilliard drama student--playing into the trap they have set for him. Most of this movement is actually spent developing the pianist -- a young black woman from Harlem, apparently as much of a sex-addict as the composer, who is preparing to compete in the Chopin piano competition in Warsaw.
The last movement ties it all together in jealousy, violence, and drama (I don't want to give too much away!)
In retrospect, the book seems to be an outlet for Kosinski to express his knowledge and love for classical music, but what seems an attempt at indirect promotion for the art probably comes off as esoteric and dated. There are long passages devoted to Chopin, classical music of the 1940's and 50's, and the waning status of classical music as the pop music industry becomes the dominating cultural signifier. The disparity he illustrates between classical music and popular music has only grown since the book's publication in the 80's and as a cellist in the 21st century, I did appreciate his commentary on the strange state of musical culture in America and capitalism's role in creating this state. Plus, as a musician, it's always fun to read non-musician's opinions on Stockhausen and Boulez and Chopin.
Overall, I think this book demonstrated that with great writers, even their lesser known works are better than most people's best.
The novel is structured loosely after the model of a symphony -- in four parts, with each part focusing in and developing a major character in the novel (while propelling an overarching plot), similar to the way composers develop central themes within each movement. And, as in a great romantic symphony, they all come together in an exciting climax in the last movement.
The first "movement" focuses on a burned-out former classical composer, relegated to performing piano sets in late night dance parlors in New York. The parallels between this composer and Kosinski are only thinly veiled, his first major piece that established his career is called "The Bird of Quintain" -- a painted bird on wood used in jousting -- and he wins International acclaim for a piece called Octaves (...sounds about as minimal as Steps...) The composer's sad routine is interrupted when he is commissioned by a young drama student of Juilliard to help her find Goddard, the reclusive rock superstar who no one has ever actually met in person. In typical Kosinski fashion, their relationship is filled with wild sexcapades, replete with photo-shoots.
Kosinski satiates our curiosity as to who is Goddard with the second movement. The rock star leads a double life, acting almost as a secret agent, maintaining an intimate relationship with a Juilliard pianist while escaping to a private recording mansion in the Southwest to pump out the next double-platinum album.
The third movement, true to form, is a love story. Goddard and the pianist break up, the composer pursues the pianist while Goddard pursues the Juilliard drama student--playing into the trap they have set for him. Most of this movement is actually spent developing the pianist -- a young black woman from Harlem, apparently as much of a sex-addict as the composer, who is preparing to compete in the Chopin piano competition in Warsaw.
The last movement ties it all together in jealousy, violence, and drama (I don't want to give too much away!)
In retrospect, the book seems to be an outlet for Kosinski to express his knowledge and love for classical music, but what seems an attempt at indirect promotion for the art probably comes off as esoteric and dated. There are long passages devoted to Chopin, classical music of the 1940's and 50's, and the waning status of classical music as the pop music industry becomes the dominating cultural signifier. The disparity he illustrates between classical music and popular music has only grown since the book's publication in the 80's and as a cellist in the 21st century, I did appreciate his commentary on the strange state of musical culture in America and capitalism's role in creating this state. Plus, as a musician, it's always fun to read non-musician's opinions on Stockhausen and Boulez and Chopin.
Overall, I think this book demonstrated that with great writers, even their lesser known works are better than most people's best.
May 12, 2017
Oh, blurbs, you conceitful little what-nots. The write up at the back said this was an intriguing tale of rock and roll, of a reclusive musician and the quest to seek his identity and, on top of it all, that this was written for George Harrison. I was sold.
Written in 4 parts, Kosinski's biggest achievement is that he makes you like it by the end of the first part. And after that brief uphill climb, it slips drastically down ward. There's so much needless eroticism. The dialogue gets progressively silly, a little too all-assuming and then plain daft. There's a bunch of idiotic romantic cross-overs which dumbs the whole thing even further. Oh, and the denouement is so incredibly silly, so very flimsy that it leaves you incredibly underwhelmed, even if it were readable enough.
There's not enough time in the world for bad books. If you think so, too, you may want to skip this.
Written in 4 parts, Kosinski's biggest achievement is that he makes you like it by the end of the first part. And after that brief uphill climb, it slips drastically down ward. There's so much needless eroticism. The dialogue gets progressively silly, a little too all-assuming and then plain daft. There's a bunch of idiotic romantic cross-overs which dumbs the whole thing even further. Oh, and the denouement is so incredibly silly, so very flimsy that it leaves you incredibly underwhelmed, even if it were readable enough.
There's not enough time in the world for bad books. If you think so, too, you may want to skip this.
February 7, 2010
Patrick Domostroy, an aging composer whose work is slowly fading into oblivion, has an affair with a mysterious, wealthy woman called Andrea. Andrea is obsessed with Goddard, the elusive rock star -no one has ever seen him. Goddard is only known through his music - which is on top of all lists and ratings. Despite the popularity of his records and the constant strivings of many people, no one was able to discover his true identity.
Andrea turns to Domostroy and employs him to find Goddard. Domostroy embarks on the quest which will hold many surprises and turns, just like a pinball game.
"Pinball" is a fascinating read for all Kosinski fans. The clash of cultures, music, sexual tension, all form a great blend of enjoyment.
Andrea turns to Domostroy and employs him to find Goddard. Domostroy embarks on the quest which will hold many surprises and turns, just like a pinball game.
"Pinball" is a fascinating read for all Kosinski fans. The clash of cultures, music, sexual tension, all form a great blend of enjoyment.
October 6, 2016
There's some real stellar stuff in here, but I can't deny being disappointed in the way the mystery came out. It had become the book to me at that point, most of the rest being flourishes by comparison, and this was just so disappointing it was all there was. Felt like I'd dived into a pool that turned out to be shallow water, though with just a ruined dive and not actual injury. It seemed like such a cop out, which was so surprising given the strength of the rest of the book.
July 28, 2011
This book is soooo bad! One of the worst I've ever read
May 28, 2024
❤️❤️
November 13, 2024
I’d give this book 3.5 stars if it were possible !
I really liked the unique plot & musical knowledge scattered throughout the book, as well as the depth of Ostens character. But the reveal at the end felt abrupt and underdeveloped - just like most of his characters. The hints of misogyny did not help ! All in all would read more of his work for the novelty :)
I really liked the unique plot & musical knowledge scattered throughout the book, as well as the depth of Ostens character. But the reveal at the end felt abrupt and underdeveloped - just like most of his characters. The hints of misogyny did not help ! All in all would read more of his work for the novelty :)
June 9, 2013
“Flipper” fu pubblicato nel 1983 nella collana “I romanzi Sonzogno”, la stessa che ospitava i bestsellers di Jackie Collins, pubblicizzati nelle ultime pagine con lo strillo “Sesso, avventura, violenza: i romanzi-scandalo della rivale di Harold Robbins”. In seconda di copertina si legge: “Come palline d’acciaio di un flipper, i personaggi rotolano veloci, si scontrano, segnano punti, nel caleidoscopio dai bagliori allucinati del rock, delle case discografiche, della droga, del sesso, delle star”. Chi lo avrà letto allettato da queste premesse ne sarà certamente rimasto deluso, così come chi ha letto “Abitacolo” aspettandosi una spy story. La peculiarità, l’attrattiva, il fascino che ho trovato in tutti i libri di Jerzy Kosinski è precisamente quella di dire “altro” rispetto alla storia raccontata, fuorviante perché intessuta in un intreccio complesso che richiama generi come, appunto, la spy story o la detective story. Fraintendimento voluto dall’autore, il cui obiettivo principale sembra quello di stimolare il lettore a grattar via dalle sue storie tutto ciò che è contingenza per arrivare a un nocciolo di significato puro e simbolico, che coincide con una sua particolare visione della vita e del suo pieno godimento. “Flipper” parla di musica, ma la citazione dal “Mercante di Venezia” mette in guardia da una interpretazione letterale: “Chi non ha la musica nel cuore, né a soavi accenti si commuove, uomo è costui da tradimenti e intrighi…”. Tornano il tema del vivere nascosti e quasi invisibili agli occhi del mondo (nei due personaggi maschili: il musicista in crisi creativa e la rockstar che nasconde la propria identità, entrambi proiezioni evidenti dell’autore) e il tema del complotto perfettamente architettato, forse elaborazione letteraria degli eventi traumatici vissuti in Polonia durante la guerra. Il risultato finale è come sempre spiazzante ma non pienamente convincente: più forte che mai resta la sensazione che l’autore abbia voluto disseminare indizi per portarci a lui (l’artista accusato di plagio; i personaggi, realmente esistiti, di Goddard Lieberson e Boris Pregel…) sperando sotto sotto che non ci saremmo avvicinati di un passo.
April 5, 2011
An extremely creative and well-plotted story about a musical mystery. Kosinski is an expert at weaving in sex and intrigue, and he does it brilliantly here, as well, and includes music into this equation. Even with all the discussion about classical music (which was a large plot device, but of which I know nothing), I was not lost and did not feel talked down to. However, the end was really random and too much of a deus ex machina, so it went down from 4 stars to 3. Still an enjoyable read the entire way through, though.
August 25, 2016
Un relato compuesto (y nunca mejor dicho) de forma magistral, como la más perfecta de las partituras de Chopin. Dos mundos se enfrentan en esta novela: el pasado y el futuro, lo clásico y lo moderno. Y hay gente que se debate entre uno y otro, o los dos. Y luego está Patrick Domostroy, que hace lo que todos: subsistir. Dejarse llevar como la bola del pinball (que es el título original; la traducción por "el millón" chirría a veces).
January 26, 2013
Pinball is a fun world to escape into, the world of rockstar fame and mystery. Jerzy Kosinski wrote the story for George Harrison, about a rocker named Goddard. It reminds me of the musician, Jandek, he also maintained mystery until 2004 he managed to keep his identity secret while self-releasing over 60 albums.
February 29, 2008
Didn't love this book. But didn't put it down either. Total departure from Being There. I have yet to read Painted Bird, so we'll see how that goes. Can't remember specifics, but I finished it so it must have had something.
November 9, 2009
This book lost some momentum half way thru.. the characters stopped being believable in the way that everything they did went right for them. Maybe Kosinski cared about them too much to see them fail.
Good, overall.
Good, overall.
July 17, 2012
Another Kosinski thrill! This one has our protagonist falling in love with a woman who wants to meet the world's biggest rock star-Goddard. Kosinski's hero finds Boddard after a good deal of sex and adventure. A typically very entertaining book.
November 5, 2013
Dark, provoking and interesting to follow the character. I stumbled across Kosinski in a small article and became curious. I read this and it turned me onto his unique dark adventures of self exploration. Have to be in the mood while reading but solid writing and enjoyable.
April 19, 2018
It reminded me of Don DeLillo’s exemplary Great Street Jones - a mysterious and compelling anonymous genius who spells pop culture from a highway and is on the lookout for his own meaning (usually via sex and alienation). Kosinski is a psychologically marvelous author.
June 17, 2007
great rock and roll novel -- very hard to do well. Loved the pace and details in this book. Running commentary on the price of fame, loss of privacy, and fan adoration.
August 29, 2007
Easy, easy read and pretty entertaining. A little over the top - musically speaking - but it held me. Not something that changed my life, or learned anything from but it passed the time.
March 24, 2008
One of those novels that you can't shake off. It's as if you lived the story- Jerzy Kosinski has a portal to a parallel dimension and I'm convinced he somehow sent me through it.
April 4, 2008
Bought this book in Prague ... so it'll somehow always be part of that trip. A good read, regardless.
January 8, 2009
I read Steps a long time ago and always pick up his books when I see them. This is my favorite of them. I highly recommend this book for anyone who knows any recluses or mildly psychotic girls.
July 28, 2013
still a fan of kosinski...
Want to read
August 3, 2013epub bookfinder
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