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The Sentimentalist [Kindle Edition]

Stavros Stavros
4.7 out of 5 stars  See all reviews (3 customer reviews)

Print List Price: $12.95
Kindle Price: $4.99
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Book Description

Yes, sentimentality: that phenomenon by which the emotional need of the viewer takes precedent over the reality of the object; sentimentality: the excessive and inappropriate infusion of meaning, the incorrect alignment of form and content; sentimentality: a child’s perception, the stain of immaturity, sister to stereotype, father of prejudice, the soul of dramatic irony!
What happiness: to surrender the child’s frantic and broad assertions about the world for the nuance and subtlety of true understanding! What joy: to abandon these delusions, to marry form with content, to live without sentimentality!

- from THE SENTIMENTALIST

Editorial Reviews

About the Author

Stavros Stavros lives and works in Cleveland, Ohio. He is the author of everything you will find at www.StavrosStavros.WordPress.com THE SENTIMENTALIST is his second novel. His first novel, THE SIRENS, was published by The Artless Dodges Press in 2009. Tom Maven is an artist and illustrator working in Cleveland, Ohio. He is currently head of design for The Artless Dodges Press. See more of his work at www.TrashMaven.WordPress.com

Product Details

  • File Size: 363 KB
  • Print Length: 258 pages
  • Publisher: Artless Dodges, Inc. (May 13, 2010)
  • Sold by: Amazon Digital Services, Inc.
  • Language: English
  • ASIN: B003MC5ES6
  • Text-to-Speech: Enabled
  • X-Ray:
  • Word Wise: Not Enabled
  • Lending: Enabled
  • Amazon Best Sellers Rank: #1,476,394 Paid in Kindle Store (See Top 100 Paid in Kindle Store)
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Customer Reviews

4.7 out of 5 stars
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3 of 3 people found the following review helpful
5.0 out of 5 stars Making an Emotion Visible October 4, 2010
Format:Paperback
There are books written for the pure beauty of the art of reading. Well-defined characters are welcome but not mandatory. Scenes can be set with precision and stamped on the brain as places never forgotten - even if they are imaginary. Words that generate journeys into the formless, gaseous space that surrounds our imagination are worthy of embracing, even just for themselves. There is writing and there is philosophy and there are characters that emerge not necessarily from the writer's pen but instead from the clues that come from pricking our thought patterns, creating our own cast of characters. The Great Novel. What is that? Is it the culmination of a vote of those who have read it or have more tangentially been affected by it? For this reader that Great Novel can be a memoir, something that awakens a heartbeat, something that carries me back to a moment cherished but growing more nebulous with the aging of the grey matter of the brain. Or it can be a conundrum of style and content and purpose and impact. Or it can be THE SENTIMENTALIST.

Reading Stavros Stavros is that kid of experience - the kind of sense of past times spent with Stephen Dedalus, Molly Bloom, Ishmael, Virginia Woolf, Colm Toibin's boys at swim, Cocteau's narration for Oedipus Rex for Stravinsky, wandering with the strange couple cinematically through Last Year at Marienbad, 'I am the enemy you killed my friend' from Wilfred Owen's war deaths, Sartre's claustrophobic room - all of these impulses take over in reading THE SENTIMENTALIST and the reason is not definable.
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2 of 2 people found the following review helpful
4.0 out of 5 stars Sentimental baggage August 18, 2010
Format:Paperback
This is an intriguing book, but is likely only applicable to a fairly narrow audience. In particular, people who are drawn to existentialism and (more specifically) the works of the French philosopher Jean-Paul Sartre.

While the cover states that it is a novel in 4 parts, this is rather questionable. The first & third sections resemble classic "story-telling" as such.

The 2nd section is a stream-of-consciousness narrative. Much like Mann's exploration of the thoughts of Goethe in The Beloved Returns; Lotte In Weimer, and as Hermann Broch disinterred the mind of Virgil in Death of Virgil, so too does Stavros give us a glimpse of the thoughts of both Sartre and Simone de Beauvoir.

The 4th section is something of a TWILIGHT ZONE escapade in which the author holds a sort of cerebral communion with the characters in the book. It plays around with some ideas that Milan Kundera expressed in Immortality (Perennial Classics).

My purpose in this review is not to engage in any sort of annoying pedantic name-dropping. Rather, it is simply the case that, as I said in the beginning, this is not a book that is likely to appeal to the masses. It is obvious that the writer has had a great deal of influence from the likes of Sartre and Kundera (among others), so if one is curious about this book, I would start w/those authors first.

One of the most quaint aspects of this book is that only 2 characters are named: Jean-Paul and Simone. The rest of the characters are defined by their roles in the book (i.e.
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1 of 1 people found the following review helpful
5.0 out of 5 stars Tour de force on themes of Sartre August 7, 2010
Format:Paperback
This is a brainy book, indeed, an intellectually provocative, wild ride based largely upon the existential themes of Jean-Paul Sartre. I very much enjoyed the experimental style of the second segment with the Molly Bloom stream of consciousness of Joyce without the boundary markers of grammar. Like "Blindness" and "Ulysses" this innovative literary style drew me into the consciousness of the writer to create a more intimate bond and compels the reader to find the meaning of the accessible syntax. The segment of Jean-Paul and Simone pretty much blew me away with its profundity, innovative alternating dialogue and grasp of the existential themes of Sartre. I was especially intrigued about the dialogue on subject-becoming-object, which is at the core of the title's focus: "every man becomes an object or perhaps life is only a long process of realizing that you are the object you have been all along existence preceeding essence." The book is indeed a "wild call to clarity" and we see the Sartrean warnings of "self-deception" from "Existentialism Is a Humanism" and the "Hell is other people" of "No Exit" abundantly reflected in the content. Primarily, we see a writer engaged in the Sartrean quest for meaning amid the prospect that the universe affords none -- only the existential absurdity of Camus. The premise here is that given the perceived reality of life's absurdity, that man is a sentimentalist and perhaps an utter fool for betting so much time to seek it. Why can't man just accept the blunt truth that life has no meaning instead of betraying himself with sentimental desires to create meaning where none exists? We see the sentimentality in the regular "!" pervading the syntax. If this premise were true, then why read this or indeed any book in the personal quest for meaning? Read more ›
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