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Call Me by Your Name: A Novel Paperback – October 3, 2017
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Now a Major Motion Picture from Director Luca Guadagnino, Starring Armie Hammer and Timothée Chalamet, and Written by Three-Time Oscar™ Nominee James Ivory
The Basis of the Oscar-Winning Best Adapted Screenplay
A New York Times Bestseller
A USA Today Bestseller
A Los Angeles Times Bestseller
A Vulture Book Club Pick
An Instant Classic and One of the Great Love Stories of Our Time
Andre Aciman's Call Me by Your Name is the story of a sudden and powerful romance that blossoms between an adolescent boy and a summer guest at his parents’ cliffside mansion on the Italian Riviera. Each is unprepared for the consequences of their attraction, when, during the restless summer weeks, unrelenting currents of obsession, fascination, and desire intensify their passion and test the charged ground between them. Recklessly, the two verge toward the one thing both fear they may never truly find again: total intimacy. It is an instant classic and one of the great love stories of our time.
Winner of the Lambda Literary Award for Fiction
A New York Times Notable Book of the Year • A Publishers Weekly and The Washington Post Best Book of the Year • A New York Magazine "Future Canon" Selection • A Chicago Tribune and Seattle Times (Michael Upchurch's) Favorite Favorite Book of the Year
- Print length256 pages
- LanguageEnglish
- PublisherPicador
- Publication dateOctober 3, 2017
- Dimensions5.5 x 0.69 x 8.26 inches
- ISBN-109781250169440
- ISBN-13978-1250169440
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Editorial Reviews
Review
"The book is incredible. My wife [Elizabeth Chambers] calls it the sexiest book she’s ever read. It humanises love in a really powerful, beautiful way.”―Armie Hammer, Time Out (London)
“I loved the movie…and the book completely blew me away!”―Marc Jacobs on Instagram
“I finally read André Aciman’s deeply moving novel Call Me by Your Name, racing to do so before I saw Luca Guadagnino’s (sublime) movie adaptation with its sensitive screenplay by James Ivory―and I adored it.”―Hamish Bowles, Vogue.com (Best Books We Read All Year)
“Superb...The beauty of Aciman's writing and the purity of his passions should place this extraordinary first novel within the canon of great romantic love stories for everyone.”―Charles Kaiser, The Washington Post Book World
“An extraordinary examination of longing and the complicated ways in which we negotiate the experience of attraction....It's startling that a novel so bracingly unsentimental―alert to the ways we manipulate, second-guess, forestall, and finally reach stumblingly toward one another―concludes with such emotional depths.”―Mark Doty, O, The Oprah Magazine
“This novel is hot...a love letter, an invocation, and something of an epitaph....An exceptionally beautiful book.”―Stacey D'Erasmo, The New York Times Book Review
“If you are prepared to take a hard punch in your gut, and like brave, acute, elated, naked, brutal, tender, humane, and beautiful prose, then you've come to the right place.”―Nicole Krauss, author of The History of Love
“A great love story...every phrase, every ache, every giddy rush of sensation in this beautiful novel rings true.”―Michael Upchurch, The Seattle Times
“The novel is richly, sensuously detailed...luminous....Aciman deftly charts a burgeoning relationship that both parties want and fear.”―Karen Campbell, The Boston Globe
About the Author
Product details
- ASIN : 1250169445
- Publisher : Picador; Media tie-in edition (October 3, 2017)
- Language : English
- Paperback : 256 pages
- ISBN-10 : 9781250169440
- ISBN-13 : 978-1250169440
- Item Weight : 8 ounces
- Dimensions : 5.5 x 0.69 x 8.26 inches
- Best Sellers Rank: #4,024 in Books (See Top 100 in Books)
- #9 in LGBTQ+ Literary Fiction (Books)
- #160 in LGBTQ+ Romance (Books)
- #575 in Literary Fiction (Books)
- Customer Reviews:
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About the author

André Aciman is an American memoirist, essayist, and New York Times bestselling novelist originally from Alexandria, Egypt. He has also written many essays and reviews on Marcel Proust. His work has appeared in The New Yorker, The New York Review of Books, The New York Times, The New Republic, Condé Nast Traveler, The Paris Review, Granta as well as in many volumes of The Best American Essays.
Aciman grew up in a multilingual and multinational family and attended English-language schools, first in Alexandria and later, after his family moved to Italy in 1965, in Rome. In 1968, Aciman's family moved again, this time to New York City, where he graduated in 1973 from Lehman College. Aciman received his Ph.D. in Comparative Literature from Harvard University and, after teaching at Princeton University and Bard College, is Distinguished Professor of Comparative Literature at The Graduate Center of The City University of New York. He is currently chair of the Ph. D. Program in Comparative Literature and founder and director of The Writers' Institute at the Graduate Center. He has also taught creative writing at New York University, Cooper Union, and and Yeshiva University. In 2009, Aciman was also Visiting Distinguished Writer at Wesleyan University.
Aciman is the author of the Whiting Award-winning memoir Out of Egypt (1995), an account of his childhood as a Jew growing up in post-colonial Egypt. His books and essays have been translated in many languages. In addition to Out of Egypt (1995), Aciman has published False Papers: Essays in Exile and Memory (2001) and Alibis: Essays on Elswhere (2011), and four novels, Enigma Variations (2017), Harvard Square (2013), Eight White Nights (2010) and Call Me By Your Name (2007), for which he won the Lambda Literary Award for Men's Fiction (2008). He also edited Letters of Transit (1999) and The Proust Project (2004) and prefaced Monsieur Proust (2003), The Light of New York (2007), Condé Nast Traveler's Room With a View (2010) and Stefan Zweig's Journey to the Past (2010). His novel Call Me by Your Name has been turned into a film (2017), directed by Luca Guadagnino, with a screenplay by James Ivory, and starring Armie Hammer and Timothée Chalamet.
He is currently working on his fifth novel and a collection of essays.
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I’d say to give it a go!
"Twenty years was yesterday, and yesterday was just earlier this morning, and morning seemed light years away."
Call Me By Your Name is a superlative novel that meticulously and comprehensively looks at the human condition from the folly of youth to the introspective later years. Told almost entirely from the stream of consciousness mind of a seventeen year old Elio, who simultaneously possesses intelligence beyond his years whilst embodying the insouciance of youth and trafficking in the same inane fickleness of the average teen in matters of the heart, and in him Aciman’s crafted a character that is quintessentially relatable.
I was immediately transported back to my own teenage years. I remember being that person, though Elio is leaps and bounds more intelligent at seventeen than I could ever hope to be then or now. The profundity of his insights are staggering and keenly observant. But the games are the same, the angst the same, the intensity the same and, most importantly, the devotion the same.
"There is a law somewhere that says that when one person is thoroughly smitten with the other, the other must unavoidably be smitten as well. […] Love, which exempts no one who’s loved from loving, Francesca’s words in the Inferno. Just wait and be hopeful. I was hopeful, though perhaps this was what I had wanted all along. To wait forever."
First loves are oftentimes the hardest to let go of; they leave an indelible mark. For Elio, Oliver is that person. Oliver, the doctoral student who came to stay with him and his parents one summer in Italy, left a watermark on Elio’s soul. Six unforgettable weeks and an intimacy forged that some have no hope of ever attaining. They lived. They loved. They became a part of each other.
People talk about the “simplicity” of youth but to my mind it was never simple. Elio has never been in love before and when you don’t know a thing it’s hard to know what to do with it, how to care for it, how to keep it. At seventeen he can’t possibly understand the rarity of his connection with Oliver, so he tells himself there will be another and there are, that it was never intended to last and maybe it wasn't, that is was a summer fling, but who's to say that makes it any less seminal?
That’s what Aciman has done so masterfully with this novel; is it or isn’t it? Aciman has crafted his own Mona Lisa with Elio.
"All that remains is dreammaking and strange remembrance."
Life goes on, people drift in and out of our lives; some leave a lasting impression while others are evanescent. Oliver left a space to be certain, but Elio left one too and maybe those spaces are capricious depending on time and space.
"-how we move through time, how time moves through us, how we change and keep changing and come back to the same."
The ebbs and flows of life transmogrify memories; make them sharper at times and less so at others, depending on where one is in life. Again, I think this is the genius of this novel: it’s not a singular experience. I’ve no doubt if I reread it in 5 or 10 yrs I’ll have a different interpretation; a change in perspective and the whole thing looks completely different and I feel like the same can be said of Elio. Will it always come back to Oliver or is that they’re in the same place where so much occurred twenty years ago? That place that meant so much from the berm to Mafalda and his parents to the bookstore to playing the guitar to paradise to afternoon naps and lazy days and nights spent f***ing each other’s brains out. Is it so much Oliver or it is the desire to recapture that place, that time? The romantic in me wants to wallow in the heartbreak and vilify Aciman for countermanding the rules of romancelandia, but to simplify this novel in such a way, to make it solely about loss is a disservice to the narrative. It’s more than that.
"Time makes us sentimental. Perhaps, in the end, it is because of time that we suffer."
The complexities of Call Me By Your Name left me feeling mawkish, clearly, but it also made me contemplative. Maybe I missed the point and it is solely a novel of love and loss with the primary objective being bittersweet heartbreak, but I choose to believe (this time) that Aciman deliberately penned a novel to make every reader take stock and cherish what they have, what they have had and what they will have. There aren’t very many novels I can say the same about.
There are several problems with this book. The first is general lack of consistency. There is much made about the apricot orchard on the family land--the care of the trees and the careful grafting done by the gardener, as well as the squeezing of apricot juice each morning by the cook. Later, Elio masturbates into a peach from the same orchard. Now, is apricots or peaches that are grown on the family land? At one point, Oliver asks Elio why he knows so much. Elio states that he reads a great deal, because there is no television. Soon after, the whole family--including Elio, the cook, and house gues Oliver spend an evening watching television. At one point, during an excursion into town, there is a passage in which Oliver has started to smoke Gauloise, and Elio smokes one as well. Later, just prior to their first sexual encounter, on entering Oliver's room, Elio states, "I didn't know you smoked." There are several more instances of this. While this is not necessarily a fatal flaw, it does show that this book really needed some more editing. This is just general sloppiness.
There are other things wrong with this book that I consider to be more troublesome. In several instances, some ideas that may or may not work are mentioned and then dropped. One is the shared Jewish identity between Oliver and Elio and his family. Oliver seems much more open about this, wearing a Star of David around his neck, while Elio and his family have a tendency to hide this fact. Nothing more is made of this, however. I think this might have made for some interesting discussion. A minor character names Vimini is brought in early, and we find out she has leukemia. I'm not sure why Aciman brings this into the story--was it some sort of carpe diem theme--get on with things before it's too late? It is unclear, since really nothing more is mentioned of it until the very end. Both of these could have been dropped without disrupting the flow of the story. They are completely unnecessary to the plot or themes. Again, more careful editing probably would have helped.
I had problems with Elio as a narrator of this story. I really didn't "buy" his voice as authentic adolescent. Edmund White was so much more successful with the adolescent narrator in A Boy's Own Story, a book which is so much more successful. And even Elio's narration is not consistent. "It might have started right there and then," or "Maybe is started after his arrival," or "Or perhaps is started on the beach. Or at the tennis court. Or during our first walk together..." while at the same time calling Oliver "This summer's houseguest. Another bore." But at the end of the book, we find out that Elio had deliberately picked out Oliver, based on his photo, from a number of other candidates. "I wanted it to be you. I made sure they picked you." And actually this might have made this a better book, if the tone of unreliability had been more consistent throughout.
Making Elio an unreliable narrator may have made the book more successful and more enjoyable. Other ways this material may have worked better include having several different narrators. I think I would have preferred having alternation chapters, from Elio's point of view, and then from Oliver's point of view. Including some of the other characters--seeing things from Elio's father's point of view, or the cook's point of view, etc. Making one of the characters flawed in some spectular way would have made this more interesting, such as Gary Indiana's Horse Crazy. In Horse Crazy, the person of the narrator's obsession--a waiter named Gregory Burgess--is bisexual, addicted to heroine, and unstable. (Horse Crazy is a much more successful book than Call Me by Your Name.)
Having an omniscient narrator telling the story from the outside may have lead to a more interesting and successful book. A good example of this would be James Salter's A Sport and a Pastime.
Much is made of the "flirting" between Elio and Olver, but then there are the moments of doubt. Was he actually flirting or not? But then the line is crossed. Elio enters Oliver's room, going through his things, trying on his clothes, masturbating on his bed. We have crossed the line from flirting to stalking. But nothing is ever mentioned about this again, another one of the inconsistencies. Though actually, having one of the men be more predatory (though again nothing new) may have made this material more interesting. Examples of novels with sexual predators include John Fowles' The Collector and Cormac McCarthy's Child of God. Both of these are so much more interesting.
A nice contrast is David Plante's The Catholic. The Catholic is very similar in theme, but is a much more successful book. Again, we have a man who is looking back at his late adolescence. But being Catholic is important here, as he struggles with the ideas of guilt and sin, and attempting to break free from the shelter of his family and church to a wider world (themes that seem to be at the heart of Call Me by Your Name, but are not dealt with as successfully). Here is Dan Francoeur: "I often thought, in my teens, that I would like to distance myself so far from myself that I would see the dark, angular-faced, blue-eyed person I was as someone apart from me, and I would try to account for someone altogether different. Though I would use the first person, I would be thinking always in terms of the third person, so "I" would think "he" and he would have nothing to do with me.
"I believed that a person shouldn't think about himself. I though about myself all the time. Other people thought about themselves a lot, and did so with pleasure. I imagined this was because of what they had to think about in themselves. What I was helplessly drawn to thinking about in myself gave me great displeasure. If only I were able to consider myself as someone different from myself, he would maybe give me something else to think about.
"This someone became my college room-mate.
"Sitting at my desk in our room, I heard shouting from the shower room, and I went in. Charlie was in one of a line of occupied cubicles, the plastic curtains drawn back, and he and other dorm-mates showering were shouting and lauhging. I associated this image of Charlie, not in retrospect but at the moment it occurred, with everything that was outside me. Though we were both male, I imagined I was so different from Charlie that we didn't share a sex....I knew Charlie, but, suddenly, I didn't know him."
The cracking of the shell continues, with late night conversations and reading the poetry of Walt Whitman. Here, the mention of Walt Whitman is important to Dan's sudden awakening conscience, not name-dropping, as seems to occur in Call Me by Your Name (Heraclitus, Shelley, Haydn, Monet, others).
To reiterate, I do not see Call Me by Your Name as a successful effort. It certainly shows that Andre Aciman has talent. But I would say that this book really was not finished. It is in need of some serious rewriting and careful editing. The other books I mentioned--A Boy's Own Story, Child of God, The Catholic, Horse Crazy, A Sport and a Pastime--are worth reading and so much more successful. Read any of these. Pass on Call Me by Your Name.
Top reviews from other countries
"It is the first thing I remember about him, and I can hear it still today. Later! I shut my eyes, say the word, and I'm back in Italy, so many years ago, walking down the tree-lined driveway, watching him step out of the cab, billowy blue shirt, wide-open collar, sunglasses, straw hat, skin everywhere. Suddenly he's shaking my hand, handing me his backpack, removing his suitcase from the trunk of the cab, asking if my father is home."
Den ganzen Roman bestimmt von Anfang an ein melancholisch-sehnsüchtiger Grundton, der sich bis zum Ende hält und sich eher noch steigert. Ein Sehnen, das nie zu Ende geht. Das ganze Leben lang. Letztlich geht es hier um die Wirkung der Zeit auf die Menschen und ihre Gefühle und darum, dass ein Paradies nur in der Erinnerung aufrechterhalten werden kann. Darum, wie immer wieder Teile der Persönlichkeit herausgerissen und immer neue Schichten darübergelegt wurden, wie bei einer sehr alten Kirche. Darum wie man sich dabei oberflächlich verändert oder die äußeren Bedingungen, aber vielleicht tief unter den neuen Schichten noch einen Rest Ihrer Liebe von damals entdeckt werden kann. Etwas, was sie geprägt hat, auf der sie sich alles gründet.
Time makes us sentimental. Perhaps, in the end, it is because of time that we suffer.
Das Buch ist in vier Kapitel eingeteilt und die Geschichte der beiden Männer wird aus subjektiver Sicht Elios erzählt im Rückblick 20 Jahre später.
Im ersten trifft Elio (17) auf Oliver (24), den amerikanischen Doktoranden, der über sechs Wochen in Ihrem Haus in Italien verbringen soll, um dort zu arbeiten. Vom ersten Moment an richtet sich eine fast obsessive Aufmerksamkeit auf Oliver. Jeder Schritt, jede Aussage, jedes Verhalten Olivers wird analysiert und interpretiert, jede Stelle seines Körpers gescannt. Wir sind in Elios Kopf. Aber Oliver ist abweisend. Elio hasst ihn dafür aber im nächsten Moment verfällt er ihm wieder, sobald er von dem anderen etwas Aufmerksamkeit oder Zuspruch erfährt.
Im zweiten und längsten Kapitel gesteht Elio nach ca. zwei Wochen der Qualen Oliver seine Empfindungen. Trotz Zögerns seitens Olivers beginnt eine erst sehr vorsichtige Annäherung, die noch über weitere zwei Wochen andauert bis auch bei Ihm alle Schranken fallen.
Im dritten Kapitel verbringen beide gemeinsam Olivers letzte Tage in Rom, wo sie das erste mal außerhalb des paradiesischen elterlichen Hauses sind, fern von Elios Familie.
Im letzten Kapitel beschreibt Elio Treffen der beiden 15 und 20 Jahre später und wie er versucht herauszufinden, was von Ihrer Liebe noch überlebt hat. Dieser Teil ist der melancholischste, dichteste und schönste und fehlt im Film fast vollständig. So viele der poetischen Sätze in diesem Kapitel könnte man einrahmen und an die Wand hängen.
Die Sprache ist dicht, intensiv und sehr erotisch, dabei aber wunderschön und nie pornografisch.. Emotional aber nicht kitschig. Die Sätze sind teilweise sehr lang und verwunden:
…It would finally dawn on us both that he was more me than I had ever been myself, because when he became me and I became him in bed so many years ago, he was and would forever remain, long after every forked road in life had done its work, my brother, my friend, my father, my son, my husband, my lover, myself.
Dieser Satz beschreibt auch gefühlvoll die Essenz dieser Liebe, die vielleicht weit über eine Beziehung hinausgeht. Sie finden sich jeweils selbst durch den anderen. "Call me by Your name and I'll call You by mine". Alles was ein Mann für Elio sein kann, war vereinigt in Oliver. Allumfassend und total, bis hin zum Verschmelzen zu einem gemeinsamen Wesen. Hier werden Vorstellungen aus der Antike wieder erweckt.
Von solchen wunderschönen sinnlichen Sätzen gibt es so viele in diesem Buch, hier noch ein Beispiel:
From this moment on, I thought, from this moment on – I had , as I'd never before in my life, the distinct feeling of arriving somewhere very dear, of wanting it forever, of being me, me, me, me and no one else, just me, of finding in each shiver that ran down my arms something totally alien and yet by no means unfamiliar, as if all this had been part of me all my life and I'd misplaced it and he helped me find it.
Der Autor arbeitet auch mit der Vorstellung von gespiegelten Liebhabern, die den jeweils anderen bei dem eigenen Namen nennen, Das Symbol Ihrer Verbundenheit und Einheit (und Gleichheit), wobei die Spiegelung auch ein eindeutig queeres Element der Geschichte bildet. Auch die beiden Namen sind bewusst gewählt: Wenn man das V und das R aus OLIVER entfernt, bleibt OLIE übrig, aus dem man ELIO bilden kann. Oliver ist in Elios Augen die vollkommenere und bessere Version von sich selbst. Er schaut zu ihm auf, vergöttert ihn, will zugleich bei ihm sein und er sein. Man kann das im wahren Leben bei den sogenannten „Boyfriend Twins“ beobachten.
Auch der Austausch von Körperflüssigkeiten wird hier zu einem philosophischen Akt:
I believe with every cell in my body that every cell in yours must not, must never, die, and if it does have to die, let it die inside my body.
Wichtig ist hier auch, dass die Pfirsichszene, über die alle sprechen, die den Film gesehen haben, hier wirklich eine starke Symbolkraft hat und hier auf etwas andere Art stattfindet. Ein Grund mehr, das Buch zu lesen.
Diese Liebesgeschichte ist sicherlich für alle verständlich und auch nachfühlbar, wenn man nicht gänzlich homophob ist (erste Liebe, Sehnsucht und Verlust und Schmerz). Ich finde, dass jeder sie lesen sollte. Und doch finde ich „universell“ („Coming - Of- Age- Liebesgeschichte“) etwas zu allgemein formuliert. Das wird immer gerne gesagt, um eine Geschichte aufwerten zu wollen und meint, damit ein größeres Publikum ansprechen zu können. Es ist aber auch eindeutig eine queere Geschichte und ersetzte man eine Figur durch eine Frau, würde alles gar keinen Sinn ergeben, z.B. die Spiegelung. Die Poesie dieser Geschichte wäre dahin. Verheimlichen müssen die Jungs Ihre Beziehung. Scham spielt eine Rolle, sowohl bei Elio nach dem ersten Sex mit Oliver als auch bei diesem wegen seiner Eltern, die ihn in eine Anstalt gesteckt hätten, hätten sie davon erfahren. Wenn beide sich küssen wollen, nur dann wenn keiner hinsieht. Ihre Liebe lebt gleichsam nur in einem Arkadien. Elio erzählt seinen Eltern einmal am Frühstückstisch, dass er beinahe mit einem Mädchen Sex gehabt hätte, hier spielt Scham keine Rolle.
Ich finde es ganz außerordentlich, wie ein heterosexueller Autor mann-männliches Begehren, Phantasien und Sehnsüchte in derart intensiver und erotischer Weise in Worte gefasst hat, dass ich sämtliche Gefühlszustände durchlebt habe.
We had found the stars, you and I. And this is given once only.
Llegó rápido y bien
Muy buen material y una lectura muy fácil
Es lo que esperaba mi hija
Seguiré comprando esos libros
Aciman‘s poetic prose leaves you aching for more.
Do yourself a favor and read this. (Then watch the amazing film adaptation.)












