PERKS OF BEING A WALLFLO

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出勤の際に車の中で聴いています。 トンネルソングを聴くとテンションが上がって、映画のように音量を上げて聴いてみたりしています☺︎ Come on Eileenが流れると楽しそうに踊るエマとエズラを思い出してウキウキするので、運転中も楽しめて嬉しいです☺︎

Something about the story struck a chord in me, from which I never truly recovered. There is something ethereal about the world created by Stephen Chbosky in this novel. I gave a copy of this book to a friend and I hope he liked it (kid never got back to me on this, how dare he lol). Such a visceral book. Nothing really happens in it but it somehow managed to leave me feeling kicked in the nuts.

its one of those coming of age books. Its easy to read and the characters are so alive!

本も読みました、映画も見ました、サントラも聴きました どれもが素晴らしい サントラで言えばセンスの良さ、映像とのリンク そして最後にボウイの登場 久々に参りました

映画を観てすぐにサントラを購入しました。映画もとても面白かったですが、サントラも最高です。

映画がとてもよかったのと、最近になって洋楽に興味を持ち始めたので購入しました。 映画のサントラなので「期待通り」なのは当然といえばそうなのですが、映画のシーンが蘇ってきてとっても楽しんでます。

読者にあてたメッセージのような、日記形式で、主人公のチャーリーが自分の日常を語る。 高校一年生の男の子で、友人の自殺と大好きなおばの死で、精神のバランスを崩して、不安定な日々を送る。 チャーリーはスポーツの花形選手でもなく、女子にもてる存在でもない。が、自分の内面を、奥へ奥へと分析したがるナイーブな性格で、兄や姉とも、どこかすれ違っている。家族もいい人たちばかりで、両親はチャーリーのトラウマを深く心配している。精神科医のテラピーに通いつつ学校で（いっけん、目立たない、フツウとみえる生活）を送っている。 文中にもたびたび紹介される「The Cather in the Rye」の、パスティーシュ？とも受け取れるような、ひたすら、10代の男の子の内面（外界との接触が不器用で自意識過剰ぎみ？？自己防衛的？？）を描いている。 このように、取り立てて事件が起こるわけでもなく、フツウに思春期を送る男の子の毎日を、べったり記述して、それが映画化可能！ということに興味を覚えた。 非常に丹念に愚直なほど些細なことがら「十代の男の子の思春期の心情」を描写している点が、アメリカ文学の新風？復刻版？を感じさせて逆に新鮮。なかなかよかったです。佳作。

It's better than the movies to be honest.

The product came in perfect condition in the estimated date. The story is short but really enjoyable and deals with taboo topics in a way that your heart will be touched really easily. Also if you have watched the movie sure you'll like much more the book.

Para quem quer treinar o ingles intermediario é uma ótima leitura, recomendo!

Reread after a long time. The story of Charlie stays timeless and hope-instilling ever after. Funny, dark, emotional, sad, it has it all. Love always!

Of course I loved the book. It's so much more than "young-adult combing-of-age". For me, it was deeply moving, an often gripping story, particularly at the end, and it opened a window not just into teenagers, but into life at all stages -- this while being extremely well-written and without calling attention to its well-written-ness. What I found most striking, was showing life through a different kind of mind, what's sometimes called Asperger's Syndrome or High-Functioning Autism. AS/HFA isn't a disease, but an important difference, important to us all. What makes AS/HFA an important difference is its talents, particularly its special "perceptiveness", though not "perceptiveness" in the usual sense. More as a deep meaning to what Robert Burns wrote, "And would some power, the Gods give us, To see ourselves as others see us!" (Know this book deals directly with many painful topics including abuse, suicide and violent bullying. It's not for "more sensitive" readers.) Reading several reviews, I'm not surprised that some reviewers found the lead character, Charlie, "too sweet" and "improbable". In this, understandably, they miss Charlie's "diffferent" mind and more, his "different" way of being. I'm a psychotherapist, specializing for several decades in people for whom therapy has failed, often people, like Charlie, who've been hospitalized. And a dozen years ago, I discovered that maybe a quarter of my clients were in the autism spectrum, almost always AS/HFA -- often highly intelligent and able to relate to the neurotypically-structured social world, though relating "differently" and needing much more conscious struggling with the basics. After working several years with AS/HFA, I found these people had remarkable powers, and the usual "unable to relate or care" descritpion of autism just wasn't true in the ordinary sense. Most were neither uninterested nor uncaring -- in fact, quite the opposite. They desperately wanted to relate and, in some ways, they were over-caring, extremely sensitive to others. They related differently, not only to others, but to themselves and their world and, in particular, to language. Often not badly, but just very differently. Writing in first person gives the author no place to hide. You MUST have an extremely interesting character, and you MUST know that character with ruthless clarity. Chbosky does, and he does so well that I suspect he may have a touch of autism himself. Or at least it runs in his family. Disclosure: after several years working with AS/HFA children, teens and adults, I noticed that I was unusually drawn to them; I could almost use that diagnostically. With that awareness, I figured out that autism runs in my family. And with that, the disease faded away and the differences began to shine through. Let me note a few points from "The Perks" to illustrate. Charlie's speech, thinking and relating, at first blush, seems to be almost child-like, more charcteristic of six years old than sixteen. He has an astonishing honesty, a naive not-understanding, and his use of words frequently has that unintended poetic feel of children. But look more carefully: Yes, there are situations he doesn't get in ways shocking for a middle-teen. But as he thinks about them and questions them, he often goes right to the heart-of-the-matter, and a heart-of-the-matter that's usually missed or forgotten by those of us, especially adults, who "just get it" and go on. Let me give an extended quote from the book's end: "Later, [my friends, Sam and Patrick,] came by in Sam's pickup truck. And we went to the Big Boy just like we always did. Sam told us about her life at school, which sounded very exciting. And I told her about my life in the hospital, which didn't. And Patrick made jokes to keep everyone honest. After we left, we got in Sam's pickup truck, and just like Sam promised, we drove to the tunnel. About half a mile from the tunnel, Sam stopped the car, and I climbed in back. Patrick played the radio really loud so I could hear it, and as we were approaching the tunnel, I listened to the music and thought about all the things that people have said to me over the past year. I thought about Bill telling me I was special. And my sister saying she loved me. And my mom, too. And even my dad and brother when I was in the hospital. I thought about Patrick calling me his friend. And I thought about Sam telling me to do things. To really be there. And I just thought how great it was to have friends and a family...." "But mostly, I was crying because I was suddenly very aware of the fact that it was me standing up in that tunnel with the wind over my face. Not caring if I saw downtown. Not even thinking about it. Because I was standing in the tunnel. And I was really there. And that was enough to make me feel infinite." Starting out, it seems almost primitively black-&-white, until "And Patrick made jokes to keep everyone honest." In the context of all that literal-ness, it's startling. Charlie doesn't just note that "Patrick is telling jokes". Humor is often a struggle for AS/HFA, and so they need to work at understanding it. Through his work, Charlie is seeing not only Patrick's style of humor, but its function. Since AS/HFA often doesn't instinctively grasp "what" to do, they approach others and their world more basically through "why it's done" and "what it means". Because Charlie struggles to see the function of so much, he remains very much in touch with a stripped-down sense of that function's truth. Again, "And Patrick made jokes to keep everyone honest." Then Charlie's "telling" returns to seemingly smple description. But read again: the description is less "simple" than "primary". And in many ways, this is the importance for us in AS/HFA relating. Attention to detail, of what simply "is", is consciously, clearly combined with an almost-primary way of relating to themselves, to others, to their world, as well as a primary relating to language. And when we see ourselves, our world, our lives through Charlie's AS/HFA "primary" lens, we not only see afresh. We see what is "primary", what goes to the heart-of-the-matter, what is the stripped down function, and so what is truly important. Not preachy, but very experiential -- "truly important" very much as-lived. And Charlie winds up poetically pointing to primary experiences, connections and always-available potentials within and around us all: "And that was enough to make me feel infinite". And he got there through self and love and family and friends. Frankly, as a therapist who works most-of-all with severe trauma -- war PTSD, attachment disorders, sexual abuse, and deep grievings -- that's a short list, in those two paragraphs, of what gets lost in trauma and of what it takes to heal. OK, I'm probably probing more than interests most potential readers. As you can see in other reviews, there are many levels to enjoy in this book. If you like, though, let yourself be touched by Charlie's "primary" description-plus-function. You may find it not only intriguging and moving, but healing. And who of us can't use a touch of healing now-and-then? P.S. I read this on Kindle and, even on my laptop, I found it an easy read. It was particularly helpful because, now over 60 years old, I can boost up the print size, making reading more relaxing.