Описание книги
About the product Once it was considered a fantasy. Now it is perceived as one of the most humane works of modern times, as a novel of piercing psychological power, as a filigree development of the theme of love and responsibility. Changes with Charlie Gordon are taking place before our very eyes, here and now. In the end, everything is simple. Geniuses and idiots are two sides of the same coin. They have different IQs, different living conditions, but they are similar in one thing — often both are infinitely lonely. And the price for a dream — to become smart — becomes too high. Charlie has a double — the mouse Algernon, only Charlie understands the behavior of the mouse and that he himself is assigned the same role as the experimental mouse, no more. The novel was repeatedly filmed in different countries, in 1968 the film Charlie was shot in the USA, and the actor Cliff Robertson was awarded an Oscar, in 2006 a film was shot in France, in 2007 a play based on the story of the same name was staged at the Alexandrinsky Theater. In 2015, a film was released in Japan, and in the same year a performance was staged at Takoy Theater, The Charlie Gordon Effect, directed by Igor Sergeev, Varya Svetlova. Leaves no one indifferent. The abstract «Flowers for Algernon» by Daniel Keyes is included in the compulsory reading program in American schools. This is the only story in the genre of science fiction, the author of which has been awarded twice, first for the story, and then for the novel with the same title, hero, plot. Charlie Gordon, 33, is mentally retarded. At the same time, he has a job, friends and an irresistible desire to learn. He agrees to take part in a dangerous scientific experiment in the hope of becoming smart … This fantastic story has amazing psychological power and makes us think about the universal issues of morality: do we have the right to experiment with each other, what results can this lead to and what price we are willing to pay for becoming «the smartest». And lonely? Daniel Keyes gives his unequivocal answer to the questions raised by M. Bulgakov in Heart of a Dog and J. London in Martin Eden.
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