It was really his finest hour.”, In the speech, as in his articles and books, Grossman used the language of a man who belongs to Israel. Down the hill, a family of settlers had moved into a two-story compound, conspicuously erecting on the roof an oversized menorah made of orange metal. Anyway, the point is that I’m having to take it slowly and carefully. Many families do this.” The plaque appears in “To the End of the Land,” when Ora and Avram climb Mt.
(“I have no hesitation regarding serving in the Army,” he said.

But we do get a firm conclusion for the story about whether Ryder will manage to make his family work. A satire on the idea of creative genius, the book is a meditation on identity, memory, and expectation. (“It was a little bit nasty,” he admitted to me.) During the demonstration, I approached four separate women who looked to be around Ora’s age, and asked them about the novel.

Tell me, where else could I get so annoyed about everything, and who would want me anyway? Grossman confided to Oz, “I’m afraid I will not be able to save the book,” to which Oz replied, “The book will save you.” Yehoshua told him, “Don’t change the book.



Once, a driver got out and exchanged angry words with demonstrators. Separation from Uri, learning to accept what happened—I have to confront it. Like Ora, he was engaging in magical thinking; though he knew it was childish, he felt as if writing the story could provide a kind of protection.

All my instincts cry out against it, every morning anew.

Editor's Picks: Science Fiction & Fantasy, Discover Book Picks from the CEO of Penguin Random House US. Buy. “And something else flickers in her,” Grossman writes. I can understand why people might be irritated to feel that an author is toying with them.

The air of national purpose and collective repression was so heavy that the Beatles were barred from visiting by the government of David Ben-Gurion, Israel’s first Prime Minister, and television was delayed until 1968, out of fear of its corrupting influence.
Uri served mainly in the occupied territories, manning checkpoints and patrolling, and as Grossman progressed with the novel his son kept up with its characters in phone conversations and visits home on leave, asking, “What did you do to them this week?” Grossman usually shows ongoing work to Michal and a handful of friends, including his two peers among Israeli novelists, Amos Oz and A.

Though he is exploring a desolate plateau, the clouds cast new shadows every day.

He calls this hybrid work a “creature” and will not describe it further, other than to say that it deals with “the new reality that I am acquainted with now, which is the proximity of life and death, and how to contain death in a life.” To his surprise, the language of death comes to him more readily in poetry than in prose, and it has a melody. Instead, he finds himself diverted on a series of cryptic and infuriating errands that nevertheless provide him with vital clues to his own past.

In the nineties and early aughts, he wrote two light novels about teen-agers, “The Zigzag Kid” and “Someone to Run With”; an epistolary novel about an adulterous affair that never quite occurs, “Be My Knife”; and a pair of novellas, published under the title “Her Body Knows.” He was now a father of three, and being a parent released new literary energies. (The Army conducted an investigation, Grossman says, and shared its conclusions with the father.).

But this is a confusion that makes me feel all the more curious and empathetic, and all the more tempted to speculate.

“What is depressing is we are having these demonstrations for so many years.” If an updated version of “The Yellow Wind” were to come out, he added, “most people would not read it today. If he is troubled that he keeps getting distracted and is never able to bring anything to the conclusion he intends, so are we. The fact that events aren’t explained in the book in the usual way undermines the normal expectations of moving through a novel. From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day, here is a novel that is at once a gripping psychological mystery, a wicked satire of the cult of art, and a poignant character study of a man whose public life has accelerated beyond his control. The journey frightened him. Like Ora, he can’t live anywhere else.

.

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