How to Disappear Completely & Never Be Found

by Fin Kennedy

Extraordinary new play, winner of the John Whiting Award for Best New Play of 2006.

Genres: Plays, Theatre, Fiction, Drama

96 pages, Paperback

First published April 1, 2007

Reviews

[Miss Ravi]

چند وقت پیش اکانت نشر بان توی توئیتر پرسیده بود: مترجمی هست که به اعتماد اسمش روی جلد کتاب، کتاب ناشناخته‌ای رو بخرید و بخونید؟ جواب من می‌شه این کتاب. چون ذائقه ادبی مترجمش رو می‌شناسم و گاهی برام مرجع انتخاب کتابه، بنابراین کتابی که ترجمه کرده رو هم با اطمینان می‌خرم.
ایده اصلی نمایشنامه جدید و حیرت‌انگیز نیست؛ اما توی فرم جالبی روایت می‌شه. یه سری گره‌‌های داستانی زودتر از حد انتظارت باز می‌شن بدون اینکه کشش داستان کم شه. اگه به شخصیت‌های بدبخت و افسرده که توی منجلاب زندگی کارمندی و میون چرخ‌دنده‌های نظام سرمایه‌داری تلف می‌شن، علاقه دارین هم جذابیت قصه براتون بیش‌تر می‌شه. ولی در کنار این‌ها، مؤخره‌ای که مترجم درباره سبک نمایشنامه و جریانی که نویسنده‌ش دنبال می‌کنه، نوشته هم بهت دید متفاوتی نسبت به این اثر می‌ده. تئاتر و نمایشنامه‌نویسی واقعاً عرصه جذابی برای نوآوری و پیدا کردن فرم‌های متفاوت و خلاقانه برای گفتن حرف‌های جدی و حتی غیرهنریه.‌ زرق و برق سینما رو نداره و توی یه موقعیت محدود به نویسنده و کارگردان امکان می‌ده خلاقیت و هنر خودش رو به چالش بکشه. سبکی که این نمایش ازش تأثیر گرفته به تئاتر «چشمت درآد» معروفه که ممکنه جنبه‌های ناخوشایند و مشمئزکننده زندگی رو برات برجسته کنه. بدم نمیاد نمونه‌های ایرانی این جریان رو هم که مترجم اسم برده بخونم. برای کسایی که مایلند؛ پلی از جنس شیشه/ نگار نادری، اسکیس و صدای آهسته برف/ جابر رمضانی و تاریخ مردم کوچه و بازار فرانسه در قرن ۱۸، پروانه الجزایری و پرسه‌های موازی از پیام لاریان.

[Behzad]

یکی از بهترین نمایشنامه های قرن بیست و یکمه به نظرم که تونسته مسائل جهان معاصر رو در قالب یه پیرنگ ملموس برای همۀ ما باشندگان این قرن دیوانه به مخاطب ارائه بده. تکنیک نمایشی جالبه و نزدیکه به اون چیزی که بیضایی در نمایش های خودش داره، یعنی سیلان صحنه که قابلیت تبدیل شدن به چند صحنه رو داره؛ که خودش متأثر از تئاتر سنتی ایرانیه.
به زودی از نشر نیماژ، البته اگه تو ممیزی گیر نکنه.

[Molly Gilbert]

Bit of a fever dream tbh

[Estefania]

3.5 stars

[Emma Brade]

What a way to start the year! I've promised myself I will read more plays in 2020 and this was an excellent place to start. Poignant, heartbreaking, wacky, occasionally terrifying yet also plenty hopeful, Kennedy explores his central themes through some beautiful writing that is bound to haunt the reader in just the right way.

[Martha Peacock]

Fin seems to question what it is really like to exist. Whether this is through the ability to seemingly “disappear” and whether like a tree falling in a forest, if it ever really existed in the first place. Throughout the fast pace and poetic dialogue it mimics, speed dating. Also mentioned very early in the script. Where much like speed dating each character you meet is futile and fades into the distance. Because how can someone make an impact if you knew them for 2 minutes. Charlie matters and people were aware of him however he disappeared from himself and become a cog in society, a name on a census. He let himself disappear. Much like most people do to avoid the demands of life. And much like Mike and Charlie/ Adam were able to do, disappear into people they weren’t. Because they had no emotional ties, no need to live their life. As Charlie lived his life on substances and a fucked up work life balance (commented by the doctor in a fusion between health focused conversation and buisness chat). The story between confused interwoven storylines and fusion of characters begs the questions what does it mean to live. To live so well it is impossible to disappear even if you aren’t noticed?

[Erik]

This story shows how a society can be so dehumanizing that it destroys a person's identity. The only thing that seems to matter is whether you can function inside a fixed and preplanned system. If you don't fit that frame it breaks you. It doesn't even matter if you lose your sense of self or direction in life the system will push you out anyway.
One of the clearest examples was the scene where he went to the hospital asking for help. They just pushed him away. He became worthless in their eye and it felt like the character had no identity beyond his role at work.
Even though the story takes place in England and western people often exaggerate things when talking about how things are there xD - it still felt very real and familiar to me.
And honestly it's not that I loved every part of the book, but there were certain parts that resonated with me and made me think and I guess that's enough for me. So I'd give it a solid 3.75 out of 5.
Worth reading overall.

[Salli]

a hugely theatrical play. I wonder if I had read it in 2006 if I would have been more impressed and if this style has now become common place and so is less effective. The first half felt a bit all on one level for me - very high, very busy- and I did not warm to the character at all. My interest in the subject is less in the cause (which we got in act 1) but more about the effect, the realisations of the results of the action. That the main character dies (and I have to assume that he really did die) rather stymies any discussion of the "never be found element" and I felt interesting questions or realisations were thus rushed over or thrown away "You take yourself with you" for example, no discussion of the pros and cons, the assumption that you have to be desperate to do it etc. I sort of felt it didn't do what the title suggested and so was disappointed.

[S]

3 and a half stars! Would’ve been 4 but I feel like it became a bit random and rambly and rushed in Act 2.

I must say, I’m glad I saw this in the flesh first as I think it translates much better that way rather than reading! When I watched it I definitely would’ve rated it higher!

I would love an authors note on the meaning - if it’s just literal that he has died it’s a little shoved in our faces in Act 2?
I liked the idea that charlie / adam is actually the younger Mike - and that is the connection between Sophie and also why he has Mikes watch etc. and why the lost property room has changed to a pawn shop over time… almost like he is taking his younger self on a journey of discovery. I would love to know if this is correct!

[Julia Cassandra]

Very clever, relevant, modern. I enjoyed this, and it is well written. Would have liked a little more on the difference in the angst of women as well as men - it's quite masculine - but that's hardly the writers fault.

[Madeline Prebble]

Do plays count as books read? Unsure

Still have brewing feelings on this one, I liked the imagery but the middle section lost me

[Leo]

Perhaps concerningly relatable, but I enjoyed it. I wish I could see this live

[Andrew]

4.5/5 stars

[Anna-May Wood]

I feel a bit let down by the end of this but a fun whitty quick read!

[Besna E.]

not the ending i wanted but i enjoyed the fever dream experience throughout

[Alina the Goblin]

Some amazing monologues in this one. Poignant. One digs themself too deep in and they have to escape. But you can't escape forever.

[Kelli Breslin]

Amazing monologues and moves very quickly. Incredibly cinematic for a play. Hoping someone translates it to the screen.

[Niamh Kelly]

V good portrayal of mental health and other relevant/interesting topics.

Style was surrealist which kept the narrative engaging and interesting - would have loved to seen performed live.