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A modern classic now available from Grove Press, Being There is one of the most popular and significant works from a writer of international stature. It is the story of Chauncey Gardiner - Chance, an enigmatic but distinguished man who emerges from nowhere to become an heir to the throne of a Wall Street tycoon, a presidential policy adviser, and a media icon. Truly 'a man A modern classic now available from Grove Press, Being There is one of the most popular and significant works from a writer of international stature.
It is the story of Chauncey Gardiner - Chance, an enigmatic but distinguished man who emerges from nowhere to become an heir to the throne of a Wall Street tycoon, a presidential policy adviser, and a media icon. Truly 'a man without qualities,' Chance's straightforward responses to popular concerns are heralded as visionary. But though everyone is quoting him, no one is sure what he's really saying. And filling in the blanks in his background proves impossible. Being There is a brilliantly satiric look at the unreality of American media culture that is, if anything, more trenchant now than ever. If you listen to audio books you will enjoy this classic performance by Dustin Hoffman. Perhaps you are familiar with the film based on the novel; if you are unfamiliar with the short novel itself, here's your chance to experience a truly insightful and compelling work of literature through the voice of an outstanding actor.
And from what author Jersy Koskinski writes in the first few pages, a reasonable take on the back-story goes like this: main character Chance’s mother died in childbirth, pr If you listen to audio books you will enjoy this classic performance by Dustin Hoffman. Perhaps you are familiar with the film based on the novel; if you are unfamiliar with the short novel itself, here's your chance to experience a truly insightful and compelling work of literature through the voice of an outstanding actor.
And from what author Jersy Koskinski writes in the first few pages, a reasonable take on the back-story goes like this: main character Chance’s mother died in childbirth, probably giving birth in the lawyer-father’s house so as to leave no record or documentation (as opposed to hospital record-keeping) since the old lawyer aimed to avoid anything official about his being the father. And then over the next several years, probably the result of some type of brain-damage, observing the baby develop (or not develop), the little boy is labeled simple-minded. And, thus, when the simple-minded little boy grows into a simple-minded big boy, we read how the lawyer-father decrees: “Chance must limit his life to his quarters and to the garden; he must not enter other parts of the household or walk into the street. Chance would do exactly what he was told or else he would be sent to a special home for the insane where, the Old Man said, he would be locked in a cell and forgotten.” There you have it – what French philosopher Michel Foucault calls a normalizing judgment: don’t deviate from what we decide is normal or we label you as mad and lock you away. Nothing like an ominous threat to keep your simple-minded son within the walls of your property, spending his life tending the garden and watching TV in his room. But what happens years later, when the simple-minded boy becomes a handsome, well-mannered, simple-minded man in his 30s and is ordered to leave the house and garden when his lawyer-father dies and doesn’t leave a word about his son in his estate plan? Thus we have the starting point for Jersy Kosinski’s novel, a novel that proves page-by-page to be a caustic satire on modern society and individual identity.
No sooner does Chance leave the old man’s house then he is hit by a limousine owned by one Benjamin Rand, a wealthy business tycoon with political connections reaching up to the president. Since the novel is written in objective third-person, we are given a clear view of how everybody around Chance aka Chauncey Gardner is duped by his honest, straight-forward manner and his speaking about his gardening and watching TV as he answers questions on such topics as the economy and international politics and life and death. Such is the power of projecting what one wants to see and hear onto a person who is a perfect tabula rasa, a blank slate. By way of example: Chance at dinner talking to Benjamin Rand about his recent expulsion from house and garden and dealing with his current life.
Rand takes Chance’s comments about Chance’s gardening as a metaphor for business production and he takes Chance’s statement “. All that’s left is the room upstairs” (the room on the 2nd floor Rand provided Chance to recover from the auto accident) as Chance speaking about his own death. In a way, what follows in the novel is a repetition of this misinterpretation of Chance’s simple, concrete words combined with a misreading of Chance’s simple-minded emotional neutrality. And with each misinterpretation and each misreading, Chance’s importance within the political and economic sphere along with perceiving him as a profound, insightful, extraordinarily well-educated American is raised several notches. Now a man of such importance and potential political power requires the American and Soviet governments to run a thorough background check. But what all those high-powered government fact-checkers find for Mr. Chauncey Gardner is zero - no family, no address, no driver’s license, no service record, no educational, industrial, political affiliations, nothing.
Well, my goodness. We as readers can see what it is like for a person to escapes the categories and structures created by society, a society where there is a place for everyone and everyone in their place, where everyone is automatically assigned specific numbers and definitions and labels and the various powerful institutions within society can exert minute control of each individual’s activity. Observing the process of categories and structures and how the powers within society disciplines and punishes people who are deemed fit for discipline and punishment, Michel Foucault said, “Visibility is a trap.” Again, Mr. Kosinski’s novel explores what it means for an individual to escape the trap, to be invisible to all society’s numbers and cross-checks. The power people see how Mr. Chauncey Gardner has nothing in his background to work against him and conclude he is supremely qualified for an influential position within the corporate community or high political office.
Did I mention the author’s caustic satire about society and politics? On the subject of identity, knowledge and language, Michel Foucault writes ““Do not ask who I am and do not ask me to remain the same: leave it to our bureaucrats and our police to see that our papers are in order.” Like many 20th century French philosophers, such Jean-Paul Sartre and Albert Camus, Michael Foucault is concerned with self-expression and exercising freedom and how governments and social institutions restrict expression and freedom. Where did you come from? What did you do ten years ago or twenty years ago? Well, we can consult the files and papers and documents to answer these questions and judge you accordingly. Any sensitive, thinking person rebels against our very human identity being reduced to numbers and documents.
Jersy Kosinski expressed his rebellion in Being There. Kosinski's 1970 satire about a simple gardener who rises to become an influential political pundit, commentator and presidential advisor is considered a classic, and rightly so. It's especially relevant today, when the level of nonsensical wankery by our leaders or so-called celebrities has reached an art form. Chance/Chauncey's 'wisdom' he dispenses from his knowledge of gardening or his constant watching of TV is consistently amusing – as are the reactions of the people around him. Kosinski wri Kosinski's 1970 satire about a simple gardener who rises to become an influential political pundit, commentator and presidential advisor is considered a classic, and rightly so.
It's especially relevant today, when the level of nonsensical wankery by our leaders or so-called celebrities has reached an art form. Chance/Chauncey's 'wisdom' he dispenses from his knowledge of gardening or his constant watching of TV is consistently amusing – as are the reactions of the people around him. Kosinski writes in a dry, unadorned way that lets the humour come out naturally. It's intriguing that because Chance/Chauncey has taken/inherited his former wealthy employer's expensive (if old-fashioned) suits, people make assumptions about his own social station and wisdom. Plus: even more than half a century ago, we all 'like to watch' (TV, that is, or our smart phones or tablet screens). I was surprised that Chance/Chauncey is much younger and handsomer than he is represented in Hal Ashby's famous film.
Jerzy Kosinski Novels
That fact makes the various amorous adventures he gets into a little more believable. (There's a same-sex encounter in the book that I don't recall from the film.) Also: I don't remember how the movie ends, but the book's ending could be. Still, this is a very funny, biting look at how an idiot can get to the White House. Which of course would never happen in real life. Chance is a gardener in the house of the 'Old Man', a job that he has had for as long as he can remember.
Chance is uneducated, he cannot read or write, and he has never been outside the garden. He watches television obsessively. Then the old man dies. His executors close up the old man's estate and send Chance out into the world. He is wholly unprepared. A series of improbable events propel Chance into the upper echelons of American society.
He meets business leaders, the President, foreign amba Chance is a gardener in the house of the 'Old Man', a job that he has had for as long as he can remember. Chance is uneducated, he cannot read or write, and he has never been outside the garden. He watches television obsessively. Then the old man dies. His executors close up the old man's estate and send Chance out into the world. He is wholly unprepared.
A series of improbable events propel Chance into the upper echelons of American society. He meets business leaders, the President, foreign ambassadors and the Secretary General of the United Nations. All are impressed by Chances simple yet seemingly profound comments. In reality he has no idea what is going on and is simply repeating platidudes learned from TV or is talking about the only subject he knows, gardening. As the book ends, Chance is on the verge of great things. Who knows, maybe he is in line for candidacy for the role of President. A simple and compelling tale, gently amusing and almost profound - a bit like Chance I suppose.
Of course where it falls down is in the plot line - the premise that an uneducated TV obsessed imbecile, a dolt, a moron mouthing nothing but platitudes could rise to power in America is simply preposterous. Very different from other novels by Kosinski. After the death of his employer, Chance, the gardener, is forced to leave the mansion where he lived all his life - and he has never left it before. Unaccustomed to the booming City and lively street, he is jostled by a car.
The woman travelling in the car offer to take him into her house, so her doctor can take care of him. While Chance gets back to health, both the woman and her husband start discovering extraordinary qualities that he posesses. Ver Very different from other novels by Kosinski.
After the death of his employer, Chance, the gardener, is forced to leave the mansion where he lived all his life - and he has never left it before. Unaccustomed to the booming City and lively street, he is jostled by a car. The woman travelling in the car offer to take him into her house, so her doctor can take care of him. While Chance gets back to health, both the woman and her husband start discovering extraordinary qualities that he posesses. Very short and entertaining, gives an interesting insight into how much the beauty depends on the eye of the beholder. Chauncey Gardiner is born and raised in a house that he never leaves. His only contacts with humans are occasional encounters with a half-crazy maid, a crippled, senile old man confined in a room upstairs, and a television set.
He watches television constantly. In middle age Gardiner is suddenly thrown out of the house into the city. Attempting to deal with a world which he has seen only as reproduced on television, he tries to apply what he has learned from the set. He adopts television behavio Chauncey Gardiner is born and raised in a house that he never leaves.
His only contacts with humans are occasional encounters with a half-crazy maid, a crippled, senile old man confined in a room upstairs, and a television set. He watches television constantly. In middle age Gardiner is suddenly thrown out of the house into the city. Attempting to deal with a world which he has seen only as reproduced on television, he tries to apply what he has learned from the set. He adopts television behavior. He tries to imitate the behavior of the people he has seen on the screen. He speaks like them, moves as they do, imitates their facial expressions.
However, because these people were only images to him, and he has never experienced real people, save for the crazies in his house, he does not know anything beyond the images. He does not know about feelings. Last year was the 10th anniversary of the iPhone. We can take our screens with us everywhere now.
This means encountering many more Chauncey Gardiners out and about than was once possible. They may be physically present, but they are mentally and emotionally absent. A somber message underlies Kosinsky's playful, deceptively simple fable.
He sketches out a preposterous situation. The main character has spent his entire life confined to his room in a mansion and its walled garden. He was born there. His sole occupation is tending the garden. His sole view of the world is from watching the TV in his room. That complacent existence is disrupted when the recluse who dwells in the mansion dies. Although Kosinski tells this story with a third person voice, the poin A somber message underlies Kosinsky's playful, deceptively simple fable.
He sketches out a preposterous situation. The main character has spent his entire life confined to his room in a mansion and its walled garden. He was born there. His sole occupation is tending the garden. His sole view of the world is from watching the TV in his room.
That complacent existence is disrupted when the recluse who dwells in the mansion dies. Although Kosinski tells this story with a third person voice, the point of view is almost exclusively from Chance's perspective. His narrative is constricted.
Chance reacts to events totally in the context of his experience as a gardener and the images he sees on the television, which he observes with an eerie detachment. Here is how he reacts to his final view of the recluse: “His shoulders sloped down at sharp angles, and his head, like a heavy fruit on a twig, hung down to one side.
Chance stared into the Old Man's face. It was white, the upper jaw overlapped the lower lip of his mouth, and only one eye remained open, like the eye of a dead bird that sometimes lay in the garden.
The maid put down the receiver, saying that she had just called the doctor, and he would come right away. Chance gazed once more at the Old Man, mumbled good-bye, and walked out. He entered his room and turned on the TV.” (Location 82). Kosinsky's disciplined writing deflects any impulse toward doubt. Kosinski sets in motion a cascade of misunderstandings. Venturing out into the world, Chance wanders into the path of a limousine.
He is taken in by its distraught passenger, a wealthy socialite married to a prominent businessman. When she asks his name, he mumbles he is Chance.the gardiner. She understands it as Chauncey Gardiner. It's just like TV he thinks — he has been cast in a new, unknown role! His lack of affect is mistaken for tranquility. His ambiguous responses are interpreted as restrained elisions.
The gardening metaphors resonate as pronouncements about economic cycles and productivity. He ascends from house guest to presidential confidant to media superstar.
Kosinski's wit is precise and pointed. His third person narrative encourages us to laugh at the luminaries awed by Chance's zen-like responses. The meteoric escalation of his fame is ludicrous.
On closer scrutiny, however, Kosinsky is forcing us to look into a mirror. Chance's brevity mimics the sound bites we hear on TV.
He questions our perception of reality. Do we often stop to ask whether the fluid images and glib utterances of “reality TV” reflect an actual reality? He exposes our susceptibility to packaging.
Chance is accepted into the coterie of wealth and power because of his appearance. When he leaves the mansion he is dressed in one of the Old Man's expensive, tailored suits chosen from his wardrobe of hand-me-downs. Chance had learned from TV that appearances were important. The absence of any record of his past is ideal. He is a blank slate on which anything can be written. Kosinski anticipates our growing reliance on metaphor to simplify and clarify an increasingly complex and incomprehensible world. Metaphor is a short-cut to explanation.
Kosinski subtracts the explanatory substance and shows us how we are content with the empty shell of evocative metaphor. Kosinski confronts us with our assumptions about celebrity. At a certain point, everything Chance does or says is golden. His dazed demeanor is healthy emotional adjustment.
When he admits he doesn't read newspapers (he is illiterate), he is congratulated for his refreshing candor. In one of Kosinski's rare departures from the voice of his character, he presents an introspective Chance preparing for his first television appearance. “Television reflected only people's surfaces; it also kept peeling their images from their bodies until they were sucked into the caverns of their viewers' eyes, forever beyond retrieval, to disappear. Facing the cameras with their unsensing triple lenses pointed at him like snouts, Chance became only an image for millions of real people. They would never know how real he was, since his thinking could not be televised.
And to him, the viewers existed only as projections of this own thought, as images. He would never know how real they were, since he had never met them and did not know what they thought.” (Location 532) Kosinski's wit has the sting of a paper cut.
We don't feel it at first, but later. Even as I laughed, I felt the pain. It's a lasting pain impossible to ignore.
NOTES: Many readers will no doubt remember Peter Sellers' brilliant performance in the film BEING THERE. Here is a perceptive review by Roger Ebert. Interview with Jerzy Kosinski analyzing the effects of television on our perceptions of reality. I'd never read any Kosinski before and only bought this book as I'm a fan of Dustin Hoffman. As you'd expect from such an accomplished actor, Hoffman's narration is superb; I'd have him read all my books to me if I could! What came as a pleasant surprise, though, was that the story was as good as the performance.
It's a really touching, funny story and my only complaint would be that there wasn't enough of it. It could have been twice as long and I still wouldn't have wanted it to end. I would d I'd never read any Kosinski before and only bought this book as I'm a fan of Dustin Hoffman. As you'd expect from such an accomplished actor, Hoffman's narration is superb; I'd have him read all my books to me if I could! What came as a pleasant surprise, though, was that the story was as good as the performance. It's a really touching, funny story and my only complaint would be that there wasn't enough of it.
It could have been twice as long and I still wouldn't have wanted it to end. I would definitely recommend it to a friend. Taken from my original review on Audible.co.uk Buddy read with Sunshine Seaspray. You can Google this book and come up with numerous learned and not-so-learned papers discussing it, and this might lead you to think it significant. You might be swayed by people who call it a postmodern masterpiece or an existential gem, or by the fact that it was made into a film.
But look at Kosinski's prose: this particular emperor is stark naked. In short, this novel has a good premise and is full of good ideas, amateur in their execution. A back-of-the-book puff piece in my copy cites 'a cr You can Google this book and come up with numerous learned and not-so-learned papers discussing it, and this might lead you to think it significant. You might be swayed by people who call it a postmodern masterpiece or an existential gem, or by the fact that it was made into a film. But look at Kosinski's prose: this particular emperor is stark naked. In short, this novel has a good premise and is full of good ideas, amateur in their execution. A back-of-the-book puff piece in my copy cites 'a critic' who said that Kosinski 'writes his novels so sparsely as though they cost him a thousand dollars a word, and a misplaced or misused locution would cost him his life.'
Perhaps our unidentified critic noted that this book is slim; in any case, he failed to note the superfluous adjectives that pepper its pages. Were they removed, Being There would be slimmer still. And don't get me started on its amateurish expository dialogue. However intelligent the ideas behind it, this novel reads as if it was written by a high school student. Being There is itself Chauncey Gardiner: a half-wit of a book, surrounded by a strange and unaccountable admiration. No doubt someone, somewhere will declare that this is what makes it brilliant. But its chief merit is that it's mercifully short.
It's interesting that I've picked up and read this story right now in view of McCain's selection of Palin, a virtual unknown, and her rapid escallation to the front page of the country's newspapers. That's almost exactly what occurred to Chance, the name of a man who had served without pay as a wealthy man's gardener until he suddenly found himself without a job or a family when the man died. While roaming the streets deciding what to next, a chauffeur backing into a parking place, pinned his le It's interesting that I've picked up and read this story right now in view of McCain's selection of Palin, a virtual unknown, and her rapid escallation to the front page of the country's newspapers. That's almost exactly what occurred to Chance, the name of a man who had served without pay as a wealthy man's gardener until he suddenly found himself without a job or a family when the man died. While roaming the streets deciding what to next, a chauffeur backing into a parking place, pinned his leg against an adjacent car and the woman from the car took him home - supposedly until he would recover - but as chance would have it, she thought he was Chauncey Gardener when he told her what he did, and she immediately imagined him to be a successful tycoon. A satire then begins, as the woman's husband also buys into the new identity and Chauncey enters high society, actually meets the President, as well as dignitaries from other countries. He's a nobody, but as he says nothing except what he knows about gardening, he's acclaimed for his thoughtfulness in putting financial problems in such simple terms.
The cover of the book has a photo of Peter Sellers who won an oscar for the movie, and I wish I'd seen it. I am still in the process of adding books from years ago and came across Being There. I am not sure how this would read today but on it's release it was a favorite (and then a movie version).
I remember enjoying this very much and to this day those of us of a certain age can use Chauncy Gardner as an adjective and still get a chuckle. The media and government were dimly viewed in that era and so much of fiction at that time reflected an almost cynical society. This was when Vidal, Irving, Roth, I am still in the process of adding books from years ago and came across Being There.
I am not sure how this would read today but on it's release it was a favorite (and then a movie version). I remember enjoying this very much and to this day those of us of a certain age can use Chauncy Gardner as an adjective and still get a chuckle.
The media and government were dimly viewed in that era and so much of fiction at that time reflected an almost cynical society. This was when Vidal, Irving, Roth, Heller etc. Were predominant voices and this book fit neatly in that wry style. This is not to say we are not in any way past being wary of media and politics now but there are so many ways the Internet provides voices in many forms and forums. So maybe this seems like an out-dated book for some, others may get a kick out of it like some of us did way back when. I saw Hal Ashby's movie 'Being There' about 20 years ago and I still remember the huge impression it made on me.
Peter Sellers was magnificent as Chance the gardener. I have just finished reading Jerzy Kosinski's book, on which the movie is based, and I find the book much weaker than the movie. Kosinski's short novella is a one-gimmick book: a simple gardener who has never been outside of his employer's residence, who knows first-hand only about gardening, who learns about people and the world fr I saw Hal Ashby's movie 'Being There' about 20 years ago and I still remember the huge impression it made on me. Peter Sellers was magnificent as Chance the gardener. I have just finished reading Jerzy Kosinski's book, on which the movie is based, and I find the book much weaker than the movie. Kosinski's short novella is a one-gimmick book: a simple gardener who has never been outside of his employer's residence, who knows first-hand only about gardening, who learns about people and the world from TV shows, and who is just being there, suddenly becomes a respected political pundit, whose opinions are sought by most prominent business leaders and politicians of the highest level. The entire book is devoted to the exposition of this one simple premise.
It is a very short book (117 pages, paperback) yet a better writer would have created a richer literary structure, one with more depth. True, the original 'joke' (the premise) is very funny, but the fun evaporates, when the same 'joke' is retold time after time. The novella is a satire on the power of people's preconceptions, on how we judge based on appearances, how a man named Chauncey must be wiser than one named Chance, and how we are controlled by what the media tell us.
Solidworks 2005 torrent+crack. The target of Kosinski's satire is well chosen, but the implementation lacks; the writing is competent yet pedestrian, and already at about the middle of the book one gets the whole point that the author wanted to make, so why keep reading? I kept reading only to find out that there is nothing more there. Film is a perfect medium to handle such a one-gimmick premise; the actors and the visuals supply the depth the text does not have. 'Being There' - a wonderful movie and an OK book.
Two and a half stars.
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