Product Description

Product Details

• Amazon Sales Rank: #1134 in Books
• Published on: 2006-04-04
• Original language: English
• Number of items: 1
• Binding: Paperback
• 368 pages

Features

• ISBN13: 9780618711659
• Condition: USED - ACCEPTABLE
• Notes:
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From Publishers Weekly
Oskar Schell, hero of this brilliant follow-up to Foer's bestselling Everything Is Illuminated, is a nine-year-old amateur inventor, jewelry designer, astrophysicist, tambourine player and pacifist. Like the second-language narrator of Illuminated, Oskar turns his naïvely precocious vocabulary to the understanding of historical tragedy, as he searches New York for the lock that matches a mysterious key left by his father when he was killed in the September 11 attacks, a quest that intertwines with the story of his grandparents, whose lives were blighted by the firebombing of Dresden. Foer embellishes the narrative with evocative graphics, including photographs, colored highlights and passages of illegibly overwritten text, and takes his unique flair for the poetry of miscommunication to occasionally gimmicky lengths, like a two-page soliloquy written entirely in numerical code. Although not quite the comic tour de force that Illuminated was, the novel is replete with hilarious and appalling passages, as when, during show-and-tell, Oskar plays a harrowing recording by a Hiroshima survivor and then launches into a Poindexterish disquisition on the bomb's "charring effect." It's more of a challenge to play in the same way with the very recent collapse of the towers, but Foer gambles on the power of his protagonist's voice to transform the cataclysm from raw current event to a tragedy at once visceral and mythical. Unafraid to show his traumatized characters' constant groping for emotional catharsis, Foer demonstrates once again that he is one of the few contemporary writers willing to risk sentimentalism in order to address great questions of truth, love and beauty.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School-Oskar Schell is not your average nine-year-old. A budding inventor, he spends his time imagining wonderful creations. He also collects random photographs for his scrapbook and sends letters to scientists. When his father dies in the World Trade Center collapse, Oskar shifts his boundless energy to a quest for answers. He finds a key hidden in his father's things that doesn't fit any lock in their New York City apartment; its container is labeled "Black." Using flawless kid logic, Oskar sets out to speak to everyone in New York City with the last name of Black. A retired journalist who keeps a card catalog with entries for everyone he's ever met is just one of the colorful characters the boy meets. As in Everything Is Illuminated (Houghton, 2002), Foer takes a dark subject and works in offbeat humor with puns and wordplay. But Extremely Loud pushes further with the inclusion of photographs, illustrations, and mild experiments in typography reminiscent of Kurt Vonnegut's Breakfast of Champions (Dell, 1973). The humor works as a deceptive, glitzy cover for a fairly serious tale about loss and recovery. For balance, Foer includes the subplot of Oskar's grandfather, who survived the World War II bombing of Dresden. Although this story is not quite as evocative as Oskar's, it does carry forward and connect firmly to the rest of the novel. The two stories finally intersect in a powerful conclusion that will make even the most jaded hearts fall.-Matthew L. Moffett, Northern Virginia Community College, Annandale
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
After his spellbinding first novel Everything is Illuminated (***1/2 Summer 2002), Jonathan Safran Foer seems "trapped in [Extremely Loud and Incredibly Close] by the very tics that made his first one a success" (Chicago Sun Times). The plot structure—quirky boy embarking on a quest for information about a loved one—mirrors that of his debut. And while Foer still displays a "seemingly inexhaustible supply of verbal ingenuity," this time around there is an uneasy balance between the prose and the subject matter (Milwaukee Journal Sentinel). This is, after all, a book about tragedy and loss. Some see Oskar’s oddball evasion of his emotions as affecting and heartbreaking; others see it as evasive and, what’s worse, manipulative. Maybe the wounds of 9/11 are still too fresh.

Technical issues are more cut and dried. Oskar’s voice, for all of its precocity, overall fails to draw the reader in. Instead of portraying the world through Oskar’s eyes, Foer spins the reader around in the boy’s head, a claustrophobic world of lists and fears. The inclusion of photos makes the dearth of visual writing that much more glaring. This flatness extends to other characters as well. This can be forgiven in a book with such a large cast (there are 262 Blacks in the New York City phone book). But many grumble that the caricatures include two main characters, the Schell grandparents.

It is easy to aim critics’ complaints about Oskar’s precocity at Foer himself; all recognize this young author’s great talent. Many admire Foer’s reach for something grand, even as they acknowledge that he hasn’t fully accomplished his task in this novel.

Copyright © 2004 Phillips & Nelson Media, Inc.

Customer Reviews

Loud and lovely
Sometimes an author has a theme running through all of his writing -- in the case of Jonathan Safran Foer, it seems to be a quest of the soul. His follow-up to the cult hit "Everything Is Illuminated" is the poignant, quirky, tender "Extremely Loud And Incredibly Close," which takes readers back to the rubble of ground zero.

Oskar Schell is a precocious preteen, who has been left depressed and traumatized. His father died in the September 11 attacks, leaving behind a mysterious key in an envelope with the word "Black" on it. So with the loyalty and passion that only a kid can muster, he begins to explore New York in search of that lock.

As Oskar explores Manhatten, Foer also reaches throughout history to other horrific attacks that shattered people's lives, including his traumatized grandparents. Though the book is sprinkled with letters and stories from before Oskar's time, the boy's quest is the center of the book. And when he finally finds where the key belongs, he will find out a little something about human nature as well...

Historically, only a short time has passed since 9/11, and in some ways "Extremely Loud and Incredibly Close" reopens the wounds. It reminds me of all the families who lost fathers, mothers and children. But Foer doesn't use cheap sentimentalism to draw in his readers, nor does he exploit the losses of September 11th families. It takes guts to write a book like this, and skill to do it well.

In some ways, this book is much like Foer's first novel, but he deftly avoids retreading old ground -- the "quest" is vastly different, the young protagonist is very different, and the conflicts and loss are different, though no less hard-hitting. Foer also sticks to that wonderfully oddballish prose, which gives a gloss of lightness to a deep plot.

After all, that is what made his first book so appealing -- there are parts of "Extremely" that are laugh-out-loud funny, and quirky characters worthy of a Wes Anderson movie. For example, one scene has Oskar sending a letter to Stephen Hawking, asking, "Can I please be your protégé?"

Child genius Oskar will probably make you want to either smack or hug him -- I tended more towards hugs. That's because Foer doesn't make Oskar seem like a tiny adult -- he's brilliant, but his mind still has the whimsy of a child's mind. His little "inventions" are just the sort of thing you'd expect an imaginative nine-year-old to create, and his quest is a realistic one, considering the tragedy he had suffered.

"Extremely Loud and Incredibly Close" proves that Jonathan Safran Foer was no one-hit wonder. His enchanting second book tackles a great tragedy with warmth, depth and sensitivity. Outstanding.

It deverves more than 5
I just finished reading this wonderful book, and I really can't describe all the feelings swirling inside of me. This is more than a book with a story, it is an experience.
When I write my reviews I never describe the plot of the book, because Amazon does it very well, and of course other people do it in their reviews....so no need.
Well, even if I wanted to describe this book I couldn't. So again, I will just tell you why I loved it.
Mr. Foer is a wonderful writer. I had not read his first book yet, although I will do that now, but something in the description of this book caught my eye, so I tried it.
I laughed and cried and even when I was laughing, I was profoundly sad. I loved the characters and their flaws, their fears, their stories, their realistic humanity even among such unrealistic situations. I just can't describe how much I loved this book or why, but it has been put on my shelf of favorite books, to be read and reread, or experienced and experienced again. Again, it made me so sad and yet, when I was done, the sadness was mixed with such wonder and even hope. Mr. Foer, you are a marvel, to the readers, don't miss this one.

some will hate, others love--too contrived for me
Extremely Loud is one of those novels that more than most will live or die on a particular reader's personal taste. Some will find it's twinned tales of a 9-year-old's grief over his father's death on 9/11 and his grandparents' tale of woe (centering on the Dresden firebombing) incredibly moving. Others will find it typographical and textual experiments wildly stimulating (blank pages, color plates, pages of nothing but numbers, photos, etc.). And some will have no trouble suspending disbelief with regard to Oskar's incredible precociousness or the fairy-tale quality of the New York City he moves in. Others, though, will find the book sentimental rather than emotional, cloying rather than powerful. The experimentation will be gimmicky distractions that mar rather than enhance the story. And the narrator's various quirks and gifts (his tambourine play, his vocabulary, his inventions and lists of aphorisms) not only unbelievable but almost unreadable. The lucky thing is it won't take you long to figure out which reader you're going to be. If the former, you'll settle in for an enjoyable ride. If the latter, it will be a long argument with yourself over just where you'll finally give in and quit reading.
Unfortunately, I fell into the latter category. It's rare that I come across a book that can have so much good writing in it that also makes me regularly want to hurl it across the room while I claw out my eyes. In the end, ELIC was a story ruined by talent, though I couldn't decide if it was insecure talent (propping up his story with gimmicks) or self-indulgent talent (throwing in everything and anything just cause he could).
As mentioned, the story centers on young Oskar, whose father left him several phone messages before being killed on 9/11. One day Oskar finds an envelope marked "Black" with a strange key in it up in his father's closet (in typical fashion, not a normal closet but a closet with a whole host of quirky associations). Deciding "Black" is a name, Oskar then goes off on a quest to find what the key opens, attempting to interview all the Black's of NYC. Interspersed between Oskar's movements are letter written by his grandparents concerning their history, which includes the firebombing of Dresden.
Oskar's story can be moving; there are some wonderful and truly brilliant passages. But for me it was marred by both his precociousness and his preciousness. One without the other would have perhaps been simply annoying, but both together made it almost unbearable. Toss in a consistent sense of arbitrary quirkiness and the book often left a bad taste in my mouth. Oskar for instance decides to interview the Black's alphabetically rather than by geographic proximity. Why? It serves the story's purpose. When seeking clues, a storeperson tells him it's interesting his father wrote "Black" in a red pen as that's so hard to do, write the name of a color in a different color ink. Really? Has anyone ever truly had to struggle to write the name of any color when using the trusty blue or black pen? Of course not. But this sounds quirky and mysterious. And so it goes.
The grandparents' sections also have their moments of true brilliance, but are also marred by problems of credibility with regard to voice and, again, quirkiness (such as designating parts of their apartment "nothing" areas), along with typographical stunts that from my view seldom enhanced the story.
ELIC therefore was extremely frustrating rather than loud, with the sense that one could have pulled out various lines/passages and put together a truly beautiful novella, but instead the reader got this. Is there talent here? Absolutely. Can you find places that will move you or make you laugh or make you marvel at the language? Absolutely. Is it worth it for those moments? From my perspective, absolutely not. But there is so much good here that I wouldn't recommend against trying it. I'd say give the book 30 pages (that's really all you'll need). If you can stomach Oskar's voice and mannerisms, you'll probably end up enjoying the book. If you find yourself cringing, save yourself. Put the book down and slowly back away. Don't strain to continue; you'll only pull something.