Selasa, 24 Februari 2015

~~ Download Ebook If on a Winter's Night a Traveler, by Italo Calvino

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If on a Winter's Night a Traveler, by Italo Calvino

If on a Winter's Night a Traveler, by Italo Calvino



If on a Winter's Night a Traveler, by Italo Calvino

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If on a Winter's Night a Traveler, by Italo Calvino

Italo Calvino imagines a novel capable of endless mutations in this intricately crafted story about writing and readers.

 

If on a Winter's Night a Traveler turns out to be not one novel but ten, each with a different plot, style, ambience, and author, and each interrupted at a moment of suspense. Together they form a labyrinth of literatures, known and unknown, alive and extinct, through which two readers, a male and a female, pursue both the story lines that intrigue them and one another.

  • Sales Rank: #10080 in Books
  • Brand: Calvino, Italo
  • Published on: 1982-10-20
  • Released on: 1982-10-20
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .69" w x 5.31" l, .61 pounds
  • Binding: Paperback
  • 260 pages

Amazon.com Review
If on a Winter's Night a Traveler is a marvel of ingenuity, an experimental text that looks longingly back to the great age of narration--"when time no longer seemed stopped and did not yet seem to have exploded." Italo Calvino's novel is in one sense a comedy in which the two protagonists, the Reader and the Other Reader, ultimately end up married, having almost finished If on a Winter's Night a Traveler. In another, it is a tragedy, a reflection on the difficulties of writing and the solitary nature of reading. The Reader buys a fashionable new book, which opens with an exhortation: "Relax. Concentrate. Dispel every other thought. Let the world around you fade." Alas, after 30 or so pages, he discovers that his copy is corrupted, and consists of nothing but the first section, over and over. Returning to the bookshop, he discovers the volume, which he thought was by Calvino, is actually by the Polish writer Bazakbal. Given the choice between the two, he goes for the Pole, as does the Other Reader, Ludmilla. But this copy turns out to be by yet another writer, as does the next, and the next.

The real Calvino intersperses 10 different pastiches--stories of menace, spies, mystery, premonition--with explorations of how and why we read, make meanings, and get our bearings or fail to. Meanwhile the Reader and Ludmilla try to reach, and read, each other. If on a Winter's Night is dazzling, vertiginous, and deeply romantic. "What makes lovemaking and reading resemble each other most is that within both of them times and spaces open, different from measurable time and space."

Review
Avant-garde novel by Italo Calvino, published in 1979 as Se una notte d'inverno un viaggiatore. Using shifting structures, a succession of tales, and different points of view, the book probes the nature of change and chance and the interdependence of fiction and reality. The novel, which is nonlinear, begins with a man discovering that the copy of a novel he has recently purchased is defective, a Polish novel having been bound within its pages. He returns to the bookshop the following day and meets a young woman who is on an identical mission. They both profess a preference for the Polish novel. Interposed between the chapters in which the two strangers attempt to authenticate their texts are 10 excerpts that parody genres of contemporary world fiction, such as the Latin-American novel and the political novel of eastern Europe. -- The Merriam-Webster Encyclopedia of Literature

Review

“[Italo Calvino is] one of the world’s best fabulists.” ?John Gardner, NEW YORK TIMES BOOK REVIEW

“Calvino is a wizard.” ?Mary McCarthy, NEW YORK REVIEW OF BOOKS

“[Calvino] manages to charm and entertain the reader in the teeth of a scheme designed to frustrate all reasonable readerly expectations.” ?John Updike, THE NEW YORKER

Most helpful customer reviews

95 of 97 people found the following review helpful.
The book lover's book
By A.J.
Often when I'm reading an extraordinarily well-written book, I marvel at how difficult and even agonizing the writing process must be; here's a book that makes me realize that this is a phase most readers go through and a challenge that confronts most writers. A charmer from the very first paragraph, "If on a Winter's Night a Traveler" makes readers feel good about reading and writers feel good about writing.
Never have I read a book that communicates with and understands its reader so well. Writers like Nabokov and Pynchon like to have fun with their readers by posing literary puzzles, but here Calvino empathizes with the avid reader's feelings of frustration from interruptions, expectations, academic blathering, and personal efforts to reflect on literature.
The protagonist of this novel is none other than you yourself, the reader. The novel is about the protagonist's (i.e., your) attempt to finish reading the novel that you have started. However, problems keep cropping up, obstructing you from your goal: misprintings, mixups, interruptions, paramilitary operations, incarceration. Joining you in your quest is Ludmilla, a woman you met in the bookstore and whom you would like to date. Ludmilla has a sister, Lotaria, a feminist who thinks literature should be used to further her polemic agenda and represents the kind of "ideological cheerleading" for which critic Harold Bloom has so much disdain. Ludmilla, on the other hand, represents the perfect passive reader who reads for purely escapist purposes.
The novel's structure is entirely original and somewhat difficult to describe. It consists of two sets of alternating chapters; one set narrates your search for the missing remainder of the novel, and the other set consists of fragments of other novels you mistakenly pick up in your search. Each of these "other" novels is a brilliant piece of writing in its own right, each by a different fictitious author and with a distinctive plot and style. Just as you're becoming engrossed in whatever novel you're reading at a certain time, another interruption occurs, forcing you to resume your worldwide odyssey.

This may sound like a frustrating reading experience, but it's actually a lot of fun, as Calvino demonstrates that starting a new "novel" saves an old plot thread from wearing out. And just when things seem to start spinning out of control for the hapless protagonist (i.e., you, remember?), Calvino brings it all together in a narrative masterstroke that summarizes what all fiction is really about, which hasn't changed much since ancient times: it is simply about telling a story that hasn't happened in real life.

191 of 204 people found the following review helpful.
A conceptual review of a conceptual book
By Mike Stone
You are getting ready to read an Amazon.com review of Italo Calvino's book "If on a winter's night a traveller". Is your mouse nearby? Are you sitting in a comfortable chair? You're not slouching over the keyboard, are you? Sit up! Now, rub your eyes, close any windows containing video games, and read on.
-----
Besides Tom Robbins' "Half Asleep in Frog's Pajamas", this is the only book you've ever read written (mostly) in second person narration. 'You' are the protagonist of the story, and are directly addressed by the author/narrator. 'You' are the Reader. This is a technique that Calvino uses very well, especially when he manages to predict (or accurately tell) the circumstances around how 'you' bought the book, how 'you're' reading it, and 'your' thoughts and feelings concerning it.
You notice that this book has no story, per se. Instead, it is about Stories. The structure of the book is more important than the narrative thrust. A Reader (you) begins reading Italo Calvino's new book, "If on a winter's night a traveller". But the book is misprinted, and ends halfway through. So you head down to the bookshop, anxious to get your money back. There you encounter The Other Reader, a young woman also foiled in her attempt to read Calvino's new book. You both buy a new copy from the shopkeeper, only when you get it home, you realize it is not Calvino's new book at all, but something called "Outside the town of Malbork". Things continue this way, back and forth from thwarted novel to encounters with The Other Reader (who, by this time, you've developed quite a crush on). Along the way, you will meet many other shady literary characters, like The Non Reader, The Writer, and the Plagiarist. Do not be afraid of these men. They are merely devices to get you thinking about the nature of reading, the nature of writing, the nature of authorship, and a number of other significant post-modern issues.
This all sounds quite fascinating to you, but you still have trepidations. You have a copy of the book with you right now. To help quench your fears you open it up, seemingly at random, to page 197, and read the following exchange:
"'On the contrary, I am forced to stop reading just when [the stories] become more gripping. I can't wait to resume, but when I think I am reopening the book I began, I find a completely different book before me...'
'Which instead is terribly boring,' I suggest.
'No, even more gripping. But I can't manage to finish this one, either. And so on.'"
You think this is pretty good so far. But wonder, is Calvino right on either count? Would such a novel be "terribly boring", or "even more gripping"? Would you get frustrated beyond repair if the story kept stopping, every time it got good? You realize that you must decide for yourself before you begin reading the book in earnest.
Continuing your perusal on the same page, you read the following passage:
"I have had the idea of writing a novel composed only of beginnings of novels. The protagonist could be a Reader who is continually interrupted. The Reader buys the new novel A by the author Z. But it is a defective copy, he can't go beyond the beginning... He returns to the bookshop to have the volume exchanged..."
You stop, because you can see where this is going. This is Calvino telling you the genesis of this book. This kind of self-reflexivity sometimes gives you a headache, for a story within a story within a story (etc.) can sometimes be very confusing. You stop reading for a while to get your bearings.
You take a break by going to the fridge for a glass of juice.
Later, you flip the book open again, this time to page 218, and you notice this:
"Then what use is your role as protagonist to you? If you continue lending yourself to this game, it means that you, too, are an accomplice of the general mystification."
"Calvino is challenging me?" you think to yourself. "He doesn't think I am capable of following him through this labyrinthine world. He doesn't think I have the brainpower. But I do!" You are getting a good head of steam now. "I can read his book, no problem! I am a Good Reader."
You turn to page one, intent on starting and then finishing this book. And when you do, you'll realize that it was a rewarding, if oftentimes difficult and confusing, experience. It will have questioned your preconceived notions of what it means to read, write, to tell stories, and to listen to them. And it will do it in a (mostly) fascinating and suspenseful way, to make the ideas go down that much easier.

36 of 37 people found the following review helpful.
let yourself be manipulated
By A Customer
Read Chapter 1. Finished Chapter 1. Began Chapter 2. Scratched my head. Finished chapter 2. Began chapter 3. Began laughing at the game Calvino was playing with me. And wondering what he was going to do to me next.
I would never have guessed all the different roads I would go down as I read this book.
You'll fall in love. You'll pull your hair out. You'll throw the book across the room. And then you'll go pick it up again.
Any attempts to describe this book any better than this will either not be well-understood or will ruin the effect of discovering it for yourself.
If you are prepared to put aside your standard concepts of literary narrative and explore a new experiment, this book is definitely for you.

See all 259 customer reviews...

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Senin, 23 Februari 2015

## Download Ebook The Reluctant Fundamentalist, by Mohsin Hamid

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The Reluctant Fundamentalist, by Mohsin Hamid

The Reluctant Fundamentalist, by Mohsin Hamid



The Reluctant Fundamentalist, by Mohsin Hamid

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The Reluctant Fundamentalist, by Mohsin Hamid

Now a major motion picture
Short-listed for the Man Booker Prize
New York Times bestseller


“Extreme times call for extreme reactions, extreme writing. Hamid has done something extraordinary with this novel.” —Washington Post

“One of those achingly assured novels that makes you happy to be a reader.” —Junot Diaz

At a café table in Lahore, a bearded Pakistani man converses with an uneasy American stranger. As dusk deepens to night, he begins the tale that has brought them to this fateful encounter . . .
Changez is living an immigrant’s dream of America. At the top of his class at Princeton, he is snapped up by an elite valuation firm. He thrives on the energy of New York, and his budding romance with elegant, beautiful Erica promises entry into Manhattan society at the same exalted level once occupied by his own family back in Lahore. 
But in the wake of September 11, Changez finds his position in his adopted city suddenly overturned, and his relationship with Erica shifting. And Changez’s own identity is in seismic shift as well, unearthing allegiances more fundamental than money, power, and maybe even love.

“Brief, charming, and quietly furious . . . a resounding success.” —Village Voice

A Washington Post and San Francisco Chronicle Best Book of the Year
A New York Times Notable Book

  • Sales Rank: #15332 in Books
  • Brand: Harvest Books
  • Published on: 2008-04-14
  • Released on: 2008-04-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .51" w x 5.31" l, .45 pounds
  • Binding: Paperback
  • 191 pages
Features
  • Great product!

Amazon.com Review
Mohsin Hamid's first novel, Moth Smoke, dealt with the confluence of personal and political themes, and his second, The Reluctant Fundamentalist, revisits that territory in the person of Changez, a young Pakistani. Told in a single monologue, the narrative never flags. Changez is by turns naive, sinister, unctuous, mildly threatening, overbearing, insulting, angry, resentful, and sad. He tells his story to a nameless, mysterious American who sits across from him at a Lahore cafe. Educated at Princeton, employed by a first-rate valuation firm, Changez was living the American dream, earning more money than he thought possible, caught up in the New York social scene and in love with a beautiful, wealthy, damaged girl. The romance is negligible; Erica is emotionally unavailable, endlessly grieving the death of her lifelong friend and boyfriend, Chris.

Changez is in Manila on 9/11 and sees the towers come down on TV. He tells the American, "...I smiled. Yes, despicable as it may sound, my initial reaction was to be remarkably pleased... I was caught up in the symbolism of it all, the fact that someone had so visibly brought America to her knees..." When he returns to New York, there is a palpable change in attitudes toward him, starting right at immigration. His name and his face render him suspect.

Ongoing trouble between Pakistan and India urge Changez to return home for a visit, despite his parents' advice to stay where he is. While there, he realizes that he has changed in a way that shames him. "I was struck at first by how shabby our house appeared... I was saddened to find it in such a state... This was where I came from... and it smacked of lowliness." He exorcises that feeling and once again appreciates his home for its "unmistakable personality and idiosyncratic charm." While at home, he lets his beard grow. Advised to shave it, even by his mother, he refuses. It will be his line in the sand, his statement about who he is. His company sends him to Chile for another business valuation; his mind filled with the troubles in Pakistan and the U.S. involvement with India that keeps the pressure on. His work and the money he earns have been overtaken by resentment of the United States and all it stands for.

Hamid's prose is filled with insight, subtly delivered: "I felt my age: an almost childlike twenty-two, rather than that permanent middle-age that attaches itself to the man who lives alone and supports himself by wearing a suit in a city not of his birth." In telling of the janissaries, Christian boys captured by Ottomans and trained to be soldiers in the Muslim Army, his Chilean host tells him: "The janissaries were always taken in childhood. It would have been far more difficult to devote themselves to their adopted empire, you see, if they had memories they could not forget." Changez cannot forget, and Hamid makes the reader understand that--and all that follows. --Valerie Ryan


A Conversation with Mohsin Hamid
Set in modern-day Pakistan, Mohsin Hamid's debut novel, Moth Smoke, went on to win awards and was listed as a New York Times Notable Book of the Year. His bold new novel, The Reluctant Fundamentalist, is a daring, fast-paced monologue of a young Pakistani man telling his life story to a mysterious American stranger. It's a controversial look at the dark side of the American Dream, exploring the aftermath of 9/11, international unease, and the dangerous pull of nostalgia. Amazon.com senior editor Brad Thomas Parsons shared an e-mail exchange with Mohsin Hamid to talk about his powerful new book

Read the Amazon.com Interview with Mohsin Hamid



From Publishers Weekly
Hamid's second book (after Moth Smoke) is an intelligent and absorbing 9/11 novel, written from the perspective of Changez, a young Pakistani whose sympathies, despite his fervid immigrant embrace of America, lie with the attackers. The book unfolds as a monologue that Changez delivers to a mysterious American operative over dinner at a Lahore, Pakistan, cafe. Pre-9/11, Princeton graduate Changez is on top of the world: recruited by an elite New York financial company, the 22-year-old quickly earns accolades from his hard-charging supervisor, plunges into Manhattan's hip social whirl and becomes infatuated with Erica, a fellow Princeton graduate pining for her dead boyfriend. But after the towers fall, Changez is subject to intensified scrutiny and physical threats, and his co-workers become markedly less affable as his beard grows in ("a form of protest," he says). Erica is committed to a mental institution, and Changez, upset by his adopted country's "growing and self-righteous rage," slacks off at work and is fired. Despite his off-putting commentary, the damaged Changez comes off as honest and thoughtful, and his creator handles him with a sympathetic grace. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Presented in the form of a monologue, which is a difficult technique to manage in a novel because the author has to ensure plausibility while guarding against monotony, Hamid's second novel succeeds so well it begs the question--what other narrative format than a sustained monologue could have been as appropriate? Generally, this is a 9/11 novel or, rather, a post-9/11 one. But to see it on its own terms, which, because of its distinctive scenario, is impossible not to do, it eludes categorization. A young Pakistani man, educated at Princeton and employed in a highly prestigious financial-analysis firm in New York, was about to start a brilliant career and had fallen for a young woman whose commitment to him, it must be admitted, was partial and elusive when the terrorist attacks occurred. Answering to his own conscience, he could not remain in the U.S. By the pull of his true personal identity, he must return to Pakistan, despite his reluctance to leave the enigmatic but beguiling young woman behind. From the perspective of a few years later, the young man relates his American experiences to an American man he meets in a cafe, whose visit to Lahore may or may not have to do with the young man's recent anti-American activities. This novel's firm, steady, even beautiful voice proclaims the completeness of the soul when personal and global issues are conjoined. Brad Hooper
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

311 of 334 people found the following review helpful.
Fears, Anxieties, and Crucial Choices
By Allan Wilford Howerton, WW II Era Author.
In a recent article in The Washington Post" (7.22.07) titled "ROOTS OF RAGE: "Why Do They Hate Us?", Mohsin Hamid writes about an encounter at a book signing in Texas for "The Reluctant Fundamentalist." He was stopped cold when a man asked the subtitle question in a politely pleasant manner that put both author and reader in the "us" category. Hamid notes that he had spent almost half his life in the United States: emigrating from Lahore, Pakistan at the age of three with his father (who was accepted to a PhD program at Stanford), learning to sing "The Star Spangled Banner" before the Pakistan national anthem, playing baseball before cricket, writing English before Urdu, and other activities of a typical American kid. The question cut to the quick because in many ways he is, or it seems should be, one of us.

The Post piece goes on to lay out an autobiography which in considerable part became the plot of "The Reluctant Fundamentalist." Hamid returned to Lahore at the age of nine, growing up there pleasurably before the city was adversely impacted economically and culturally (strict morality codes, intimidation of politicians, academics, and journalists) by American backing of Pakistan's dictator Mohammed Zia ul-Haq in exchange for Zia's support of the mujaheddin, the Afghan guerrilla group fighting the Russian occupation which later became an American holy war adversary. Like the character Changez in the novel, he returned to the United States to attend Princeton University.

How much of the remainder of the book (Changez's outstanding performance in a business evaluation firm prior to being fired in debilitating disenchantment when he recognized the havoc his work was causing in the global workplace, the American girlfriend who ultimately fails him, et cetera) is unknown. But there is enough to support the notion that fiction, well written, can often articulate more basic truth than nonfiction. And "The Reluctant Fundamentalist" is brilliantly and beautifully written. There is no action (no bombs, no bullets, no noisy chaos) but there is suspense, gripping suspense (the feeling that something rather awful may happen at any moment), as Changez spends an evening over dinner telling his story to an American at a restaurant at a disquieting Lahore market. We never know the American's name or anything about him (whether businessman, tourist,, government agent)) except for his excruciating fear in the exotic foreign setting in which he finds himself. All this is conveyed through the narrative voice of Changez interpreting the American's reaction as the story unfolds.

The unnamed American is a stand-in, the nervous visitor in a strange foreign land, for all of us as we ponder the ghosts and goblins of the war on terror. Uneasy and watchful in that eerie marketplace, he could be any one of us anywhere. The girl with whom Changez falls in love is also, in a sense, a prototype for an America that cannot give up the memory of a dead lover (our nostalgia for the innocent security of a time that is past) and accept Changez for what he is: a smart, well-educated, if culturally different, Muslim foreigner who longs for acceptance.

In the Post article, Hamid answers the question of why they hate us as part envy and part reaction to American foreign policy. But his answer is less convincing that the one he offers to a reverse question, Why Do They Love Us?: "People abroad admire Americans not because they back foreign dictators but because they believe that all men and all women are created equal. That concept does not stop at the borders of the United States. . . .

"The challenge that the United States faces today boils down to a choice. It can insist on its primacy as a superpower, or it can accept the primacy of its values. If it chooses the former, it will heighten the resentment of foreigners and increase the likelihood of visiting disasters upon distant populations -- and vice versa. If it chooses the latter, it will discover something it appears to have forgotten: that the world is full of potential allies."

Readers of "The Reluctant Fundamentalist" will experience, at least for a few hours, some of the feelings of others across the world who are observing our fears and anxieties as we weigh the crucial choices which lie ahead. It could be time well spent.

140 of 153 people found the following review helpful.
An incisive treatise on the mind of the "reluctant fundamentalist"
By Sheetal Bahl
By now, you what the book is about. And you've heard the disagreements - fundamentalist, not so; controversial, innocuous; hate mail, balanced viewpoint; etc., etc. It seems like there is little left to say. But let me try and present some different perspectives on the book - things I see less talked about but which I believe are crucial to its understanding, interpretation, and appreciation.

So, let me start by stating the two key themes I am not going to be discussing: the sort of "coming-of-age" and maturing of an individual as a consequence of the social and political events around him, and the analysis of the transition that a society goes through as exemplified by the impact of some dramatic events on an individual or a family. I think both these themes are played out in this book, and played out very well like almost everything else in it, but they are still secondary themes. The real objective of the book I believe is to showcase the entire generation of "reluctant fundamentalists" that have spawned among Generations X&Y across the globe (primarily as a result of the huge economic disparities between the developed and developing nations, but that's an altogether separate debate and something I won't go into further here). These fundamentalists are not born so, they are not trained to be so, they often feel ashamed to be so, and are quintessentially not so, but nonetheless, when cornered, they become so as a natural outcome of some primal human behavioural traits like love for one's own and protecting of one's territory. These are the circumstantial fundamentalists. Changez is just one such man, and the dichotomy playing out in the minds of these reluctant fundamentalists is demonstrated in an excellent fashion through his actions in this book. Till he is cornered (metaphorically, when 9/11 takes place), he displays no fundamentalist tendencies. But once he is, some primal emotions surface. Thereafter, he and those around him get into a vicious cycle, as a result of which he keeps getting pushed back more and more, and like most people, does not know how to respond except by becoming defensive, by retreating into familiar territory, and sometimes by lashing out in unjustifiable ways. Does he regret some of his reactions - absolutely, for he knows that some of them represent something inhumane and cannot be justified by any measures of morality. And that is the dilemma of the reluctant fundamentalist - the battle between the greater good and the smaller but more personal concerns. That is the dilemma every one of us is likely to face at some point in our life - protecting what is near and dear to us, or protecting what is right. That is the dilemma that Mohsin Hamid is trying to lay bare, and I think he does it fantastically.

There are two other aspects of the book which I'd like to briefly touch upon: the very interesting relationship between Changez and Erica, and also Erica's downward mental spiral. These are not key themes in the book, and to be honest, I don't believe are essential to the narrative of the book, but are still very well detailed and beautiful sub-stories in themselves which could have become good fodder for another book. These stories are really Erica's, as she gradually, not suddenly, loses her ability to deal with her dead lover, and how that loss affects her present relationships, especially with Changez. I thought this narrative was startling and beautiful, despite its inevitable tragic end.

In conclusion, I'd like to strongly recommend this book to all those readers who are trying to get some incisive and powerful insight into the minds of the quasi-fundamentalist behaviour being shown by many today. This book is not going to solve the culture-, religion-, or class-based clashes in the world today, but if it can help even a few people understand each other better, which I believe it will be able to, then it's a very worthwhile addition to the annals of literature.

86 of 94 people found the following review helpful.
Reluctant Of All the Fundamentals
By Caesar Warrington
Rarely will I describe a book as beautiful. Yet I cannot think of a more befitting descriptive for Mohsin Hamid's THE RELUCTANT FUNDAMENTALIST.

The story centers around a meeting at an outdoor café in Lahore between a Pakistani man named Changez and a suspicious-looking American with the bearing that makes him out to be either military or intelligence agent. Changez engages the man initially in tea and conversation. After awhile, seeing the American most attentive --and also a bit wary of his surroundings, the Pakistani orders dinner for the two of them; meanwhile going deeper into his memories about times spent in America, as a student at Princeton and later as a rising star at a New York valuation firm. Changez also recollects his budding romance with Erica, the daughter of a wealthy investment banker who was sure to enable Changez's entry to high society. Changez was well on his way to success when the twin towers of the World Trade Center came tumbling down on September 11, 2001.

Changez's reaction to their collapse alarms and confuses him; he finds himself smiling and overjoyed. The elation, however, isn't over the deaths of 3,000 innocent people, but rather thet there are those who are able to strike at the United States --an entity which has long held him in awe with its almost limitless power, wealth and ability to affect the world: sometimes for the best, sometimes for the worst. As America becomes enraged and seeks revenge upon anything and anyone Muslim, he reads reports of Pakistan becoming coerced into the war against Afghanistan and of India taking advantage of this situation threatening his homeland. Becoming ever more distanced from our society and his work, it becomes increasingly harder for Changez to continue at his career. A job which he now sees as dependent upon the expense and suffering of others. Making matters worse, Erica, the one person who perhaps could have kept him grounded and focused, suffers a mental relapse over the shock of 9/11. Erica slips back into the debilitating state she suffered over the death of her longtime childhood friend and lover, Chris, two years earlier. Eventually Changez returns to Pakistan. Changez today is a different man from the ambitious and obedient corporate cog he described living back in New York. Yet as he speaks to the American about his country's indifference to the rest of the world, about America's unconcern for the expense her wars of revenge are costing others, he still he cannot hide his love for America. However, it is no longer the romanticizing love of an infatuated innocent, instead it is the love one has for another depite all the other's faults and abuses. A love reluctant, but love nonetheless.

The monologue telling of this story is beguiling. Changez holds the reader spellbound as he keeps the unidentified American man's interest for hours. Mohsin Hamid's gift for words and symbolism, and the intricacies he creates with them, is astounding. Admittedly, some of Changez actions and statements will repel many of us American readers (his gleeful response to the jets slamming into the Twin Towers certainly did it to me). Keep in mind, however, that this is a voice which exists amongst millions of those out there, from Totonto and London, to Pakistan and Indonesia. It is a voice we have been told to ignore, but it still won't go away. That's because it is not only the voice of the popeyed rageboys constantly being shown in our media, but also the voice of men like Changez, who tried making sense of America's dichotomies, but can no longer struggle to reconcile the willful ignorance and arrogant indifference that exists within our nation's beauty and spirit. So, we may call them "fundamentalists," but we must start to recognize that many are reluctant to be such. They have the rageboys, but we have the coldly calculating geopolitical experts, who smile and assure us of our "national interests." Changes must come from all of us.

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@ Download Ebook War Within & Without: Diaries And Letters Of Anne Morrow Lindbergh, 1939-1944 (Harvest Book), by Anne Morrow Lindbergh

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War Within & Without: Diaries And Letters Of Anne Morrow Lindbergh, 1939-1944 (Harvest Book), by Anne Morrow Lindbergh

An account of the Lindberghs' wartime years, but most significantly the story of a bond between two extraordinary people. Introduction by the Author; Index; photographs. A Helen and Kurt Wolff Book

  • Sales Rank: #1476052 in Books
  • Color: Yellow
  • Published on: 1995-01-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.32" w x 5.50" l, 1.52 pounds
  • Binding: Paperback
  • 512 pages
Features
  • ISBN13: 9780156947039
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Anne Morrow Lindbergh, born Anne Spencer Morrow (June 22, 1906 – February 7, 2001) was a pioneering American aviator, author, and the spouse of fellow aviator Charles Lindbergh.  She resided in Connecticut.

Books by Anne M. Lindbergh

  • North to the Orient (1935)
  • The Wave of the Future (1940)
  • The Steep Ascent (1944)
  • Gift from the Sea (1955)
  • The Unicorn and other Poems (1956)
  • Dearly Beloved (1962)
  • Earth Shine (1969)
  • Bring Me a Unicorn
  • Hour of Gold, Hour of Lead (1973)
  • Locked Rooms and Open Doors (1974)
  • The Flower and the Nettle (1976)
  • War Within and Without (1980)

Most helpful customer reviews

16 of 16 people found the following review helpful.
The Lindberghs lives during the WWII years ...
By A Customer
I really enjoyed this book, as it offers Anne Morrow Lindbergh's perspective on her life and her husband's life during the tumultuous pre-WWII years. Charles Lindbergh took his family to live in England after the trial of Bruno Hauptmann for the kidnapping and murder of Charles and Anne's first son. But even after the trial, the Lindberghs were harassed and they feared for their son, Jon's, safety. In England, for the first time in their married life, they had a home of their own and privacy. They also travelled extensively and this book tells of their impressions of Hitler's Germany, among other places. To read now what Anne and Charles thought of Germany is enlightening, especially when considering Charles Lindbergh's public speeches trying to keep America out of the war. The Lindberghs moved from England to an island off the coast of France for a time and Anne's descriptions of living in such an environment with an infant and unpredictable conditions is fascinating. Anne also writes about many well-known people of the period, such as Alexis Carrel, Lady Astor, Gertrude Stein, Hitler, and others. I would highly recommend this book.

14 of 15 people found the following review helpful.
Lyrical, infuriating, moving.
By frumiousb
War Within and Without is not an easy book to read. It must have been an even more difficult book to publish. Lindbergh gets points for exposing herself and this period in her life to public scrutiny.

This book contains her journals and letters from the period 1939-1944. Although many things happen during this time, the focus of the book is on her husband and his involvement with the isolationist America First Committee. It is by turns painful and almost offensive to read the young Lindbergh as she attempts to defend her husband for his opposition to US war participation. She points out correctly in the introduction that they did not then have the benefit of historical hindsight. Still, it is difficult not to cringe as you read about Charles and his decision to criticize the Jews for pushing the US to enter the war. Anne herself during that period is tarnished by the charge of fascism as she publishes her book The Wave which tries to make sense of the changes in Europe.

These journals are an invaluable historical window into those conflicted pre-war years in the US. The national reluctance to act has now been almost forgotten, and it is a rare person who is willing to admit that they had taken a stance against US participation. I doubt that there are many texts like this one.

Although Lindbergh wrote many books which were not journals, her style of writing is ideally suited to the journal form. Her prose is as lovely here as it is in anything that she ever published. The descriptions of her love for Charles or the death of a beloved family dog ground the political aspect of the book and are powerful enough to bring tears to the eyes. The fact that I so often disagreed with her politically only made her more human-- and ultimately made the book more moving to read.

Highly recommended for virtually any reader interested in history, essays, or journal writing.

5 of 5 people found the following review helpful.
Fascinating Snapshots in time in the Lindbergh Life Story
By Julie Jordan Scott
This book interested me primarily because I am a life-story writer - and I knew Anne Morrow Lindbergh primarily as the wife of famous aviator Charles Lindbergh. I knew she had a child kidnapped and murdered, but beyond that, I knew nothing about her.

This book opened my eyes to the beautiful woman she is - the poet, the lyrical parent, the mother-author-woman-lover-of-life that allowed us to see the private, family side of a world famous marriage.

Politically, the Lindberghs went through a lot of heat during this era, which we get to witness, front-and-center. She doesn't sugar coat things, she speaks openly and plainly.

I especially enjoyed hearing about St. Exupery - and the relationship they cultivated, and AML's love for Rainer Rilke made me love her even more, as I love him, too.

Reading this one volume makes me hungry for more of her words - and after reading this I also see her daughter, Anne published a memoir as well. I look forward to reading more.

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Minggu, 22 Februari 2015

~ Get Free Ebook A Passage to India, by E.M. Forster

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A Passage to India, by E.M. Forster

Among the greatest novels of the twentieth century and the basis for director David Lean’s Academy Award-winning film, A Passage to India tells of the clash of cultures in British India after the turn of the century. In exquisite prose, Forster reveals the menace that lurks just beneath the surface of ordinary life, as a common misunderstanding erupts into a devastating affair.

  • Sales Rank: #24950 in Books
  • Color: Tan
  • Brand: Mariner Books
  • Published on: 1965-03-17
  • Released on: 1965-03-17
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x 5.50" w x .75" l, .78 pounds
  • Binding: Paperback
  • 368 pages
Features
  • Great product!

Amazon.com Review
What really happened in the Marabar caves? This is the mystery at the heart of E.M. Forster's 1924 novel, A Passage to India, the puzzle that sets in motion events highlighting an even larger question: Can an Englishman and an Indian be friends?

"It is impossible here," an Indian character tells his friend, Dr. Aziz, early in the novel. "They come out intending to be gentlemen, and are told it will not do.... Why, I remember when Turton came out first. It was in another part of the Province. You fellows will not believe me, but I have driven with Turton in his carriage--Turton! Oh yes, we were once quite intimate. He has shown me his stamp collection.

"He would expect you to steal it now. Turton! But red-nosed boy will be far worse than Turton!

"I do not think so. They all become exactly the same, not worse, not better. I give any Englishman two years, be he Turton or Burton. It is only the difference of a letter. And I give any Englishwoman six months. All are exactly alike." Written while England was still firmly in control of India, Forster's novel follows the fortunes of three English newcomers to India--Miss Adela Quested, Mrs. Moore, and Cyril Fielding--and the Indian, Dr. Aziz, with whom they cross destinies. The idea of true friendship between the races was a radical one in Forster's time, and he makes it abundantly clear that it was not one that either side welcomed. If Aziz's friend, Hamidullah, believed it impossible, the British representatives of the Raj were equally discouraging. "Why, the kindest thing one can do to a native is to let him die," said Mrs. Callendar.
"How if he went to heaven?" asked Mrs. Moore, with a gentle but crooked smile.
"He can go where he likes as long as he doesn't come near me. They give me the creeps." Despite their countrymen's disapproval, Miss Quested, Mrs. Moore, and Mr. Fielding are all eager to meet Indians, and in Dr. Aziz they find a perfect companion: educated, westernized, and open-minded. Slowly, the friendships ripen, especially between Aziz and Fielding. Having created the possibility of esteem based on trust and mutual affection, Forster then subjects it to the crucible of racial hatred: during a visit to the famed Marabar caves, Miss Quested accuses Dr. Aziz of sexually assaulting her, then later recants during the frenzied trial that follows. Under such circumstances, affection proves to be a very fragile commodity indeed.

Arguably Forster's greatest novel, A Passage to India limns a troubling portrait of colonialism at its worst, and is remarkable for the complexity of its characters. Here the personal becomes the political and in the breach between Aziz and his English "friends," Forster foreshadows the eventual end of the Raj. --Alix Wilber

From School Library Journal
Grade 9 Up-By E.M. Forster. Narrated by Flo Gibson.
Copyright 1999 Reed Business Information, Inc.

Review
What really happened in the Marabar caves? This is the mystery at the heart of E.M. Forster's 1924 novel, A Passage to India, the puzzle that sets in motion events highlighting an even larger question: Can an Englishman and an Indian be friends?

"It is impossible here," an Indian character tells his friend, Dr. Aziz, early in the novel. "They come out intending to be gentlemen, and are told it will not do.... Why, I remember when Turton came out first. It was in another part of the Province. You fellows will not believe me, but I have driven with Turton in his carriage--Turton! Oh yes, we were once quite intimate. He has shown me his stamp collection.

"He would expect you to steal it now. Turton! But red-nosed boy will be far worse than Turton!

"I do not think so. They all become exactly the same, not worse, not better. I give any Englishman two years, be he Turton or Burton. It is only the difference of a letter. And I give any Englishwoman six months. All are exactly alike."

Written while England was still firmly in control of India, Forster's novel follows the fortunes of three English newcomers to India--Miss Adela Quested, Mrs. Moore, and Cyril Fielding--and the Indian, Dr. Aziz, with whom they cross destinies. The idea of true friendship between the races was a radical one in Forster's time, and he makes it abundantly clear that it was not one that either side welcomed. If Aziz's friend, Hamidullah, believed it impossible, the British representatives of the Raj were equally discouraging. "Why, the kindest thing one can do to a native is to let him die," said Mrs. Callendar.

"How if he went to heaven?" asked Mrs. Moore, with a gentle but crooked smile.

"He can go where he likes as long as he doesn't come near me. They give me the creeps." Despite their countrymen's disapproval, Miss Quested, Mrs. Moore, and Mr. Fielding are all eager to meet Indians, and in Dr. Aziz they find a perfect companion: educated, westernized, and open-minded. Slowly, the friendships ripen, especially between Aziz and Fielding. Having created the possibility of esteem based on trust and mutual affection, Forster then subjects it to the crucible of racial hatred: during a visit to the famed Marabar caves, Miss Quested accuses Dr. Aziz of sexually assaulting her, then later recants during the frenzied trial that follows. Under such circumstances, affection proves to be a very fragile commodity indeed.

Arguably Forster's greatest novel, A Passage to India limns a troubling portrait of colonialism at its worst, and is remarkable for the complexity of its characters. Here the personal becomes the political and in the breach between Aziz and his English "friends," Forster foreshadows the eventual end of the Raj. 

(Amazon.com Review - Alix Wilber )

Most helpful customer reviews

133 of 136 people found the following review helpful.
Extraordinary Classic
By Westley
I've read and enjoyed several Forster books, but "A Passage to India" tops them all. The plot concerns the arrival in Chandrapore, India of Ms. Quested and her potential mother-in-law, Mrs. Moore. They come to visit Mrs. Moore's son, Ronny, who is engaged to Ms. Quested. Ms. Quested and Mrs. Moore are the typical new arrivals, and they desire to see more of the "real" India than they can see with their fellow Brits, who tend to gather in the state Club and socialize only with each other. They become involved with Dr. Aziz, a local Indian physician, who promises to show them the famous, nearby Marabar caves. Dr. Aziz is solicitous toward the Brits and craves their friendship, but he clearly has negative feelings toward them also.

At the Marabar caves, an incident occurs (or does not occur) to Ms. Quested that alters all of the characters and their town inextricably. There is a trial and a bit of a mystery, but the focus is always on the characters and their conflicts. In particular, the tension between the English and the people of India is beautifully portrayed. The characters are multi-dimensional, as are their motives, which makes for a fascinating read. I found the book to be quite moving and sad - a true classic.

62 of 63 people found the following review helpful.
A masterpiece.
By medelliana
This is book is incredible, and one of my personal favorites. Its beauty is too easily overlooked, because it is so elegantly subtle. Every aspect of the storytelling is masterful: the prose is lush and nuanced, and every character is exquisitely drawn. Drawing from the slimmest of plots, Forster weaves what seems to be an isolated incident into a complex tapestry of emotion. The central focus are the characters, who are sharply realistic and utterly, utterly human. Another aspect that I liked very much is that it takes an era, the British Raj in India, which is otherwise interpreted only with the most hotly colored emotions, and presents it with a marked neutrality, presenting it only through the eyes of the characters. A marvelous read.

42 of 43 people found the following review helpful.
Hard work, amply rewarded
By Birdman
I will not summarize the plot of this intricate novel, which is freely available through authoritative sites across the Web.

If you love novels of character and theme, you will love and remember this painstakingly written novel of bigotry and colonialism before Indian independence. The concept which clothes the story: the Caucasian, very proper, very British Miss Quested accuses the Indian, Dr. Aziz, of physical assault in a cave. The facts of the event were literally invisible. The balance of the novel is a clash of cultures, biases and characters, all of which conspire to express "reality."

Forster is methodical in way he prepares his readers for the Event and its aftermath. He writes with the precision of a literary surgeon just as he did in A ROOM WITH A VIEW and HOWARD'S END.

If you'd like explore Forster's writing, this is a fine place to start. Give it a little work and it won't let you down. The author was one of the great masters of the English language and an outspoken adversary of bigotry. Most of us have experienced bias at least once or twice in our lives. For that reason alone, I'd try it.

Forster is also the great exemplar of the modern novel. Few were as consistently aware of form. Few had the ability to infuse raw emotion into such civilized prose.

Go for it.

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Sabtu, 21 Februari 2015

~ Fee Download Banjo: A Novel, by Claude McKay

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Banjo: A Novel, by Claude McKay

Lincoln Agrippa Daily, known on the 1920s Marseilles waterfront as “Banjo,” prowls the rough waterfront bistros with his drifter friends, drinking, looking for women, playing music, fighting, loving, and talking - about their homes in Africa, the West Indies, or the american South and about being black.

  • Sales Rank: #432925 in Books
  • Published on: 1970-10-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .84" w x 5.25" l, .85 pounds
  • Binding: Paperback
  • 336 pages
Features
  • ISBN13: 9780156106757
  • Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
"'An unforgettable picture of waterfront life in Marseilles' The Nation 'A vigorous and full-blooded piece of writing... extraordinarily well done... packed with incident' Times Literary Supplement"

About the Author
Claude McKay was born in Jamaica on 15th September, 1890. He began writing poetry as a schoolboy. He worked as a policeman in Spanish Town and when he was twenty-two had his first volume of poems, Songs of Jamaica (1912) published. In 1912 McKay moved to the United States where he attended Tuskegee Institute in Alabama and Kansas State University. He continued to write poetry and in 1918 his work was praised by both Frank Harris and Max Eastman. The following year, his poem, If We Must Die, was published in Eastman's journal, The Liberator. Frank Harris encouraged McKay to obtain writing experience in England. In 1919 McKay travelled to England where he met George Bernard Shaw who introduced him to influential left-wing figures in journalism. This included Sylvia Pankhurst, who recruited him to write for her trade union journal, Workers' Dreadnought. While in London McKay read the works of Karl Marx and becomes a committed socialist. In 1921 McKay returned to New York and became associate editor of The Liberator. Over the next year the journal published articles by McKay such as How Black Sees Green and Red and He Who Gets Slapped. He also published his best known volume of verse, Harlem Shadows (1922). In 1922 McKay went to Third International in Moscow where he represented the American Workers Party. He stayed in Europe where he wrote Trial by Lynching: Stories About Negro Life in America (1925) and Home to Harlem (1928), a novel about a disillusioned black soldier in the US Army who returns from the Western Front to live in a black ghetto. This was followed by other novels such as Banjo (1928), Gingertown (1932) and Banana Bottom (1933). McKay gradually lost faith in communism and returned to the United States in 1934. Employment was difficult to find and for a while he worked for the Federal Writers' Project. McKay's published work during this period included his autobiography, A Long Way From Home (1937) and Harlem: Negro Metropolis (1940). Unable to make a living from writing, McKay found work in a shipbuilding yard. In 1943 he suffers a stroke and the following year was baptized into the Roman Catholic faith. In 1945 his essay, On Becoming a Roman Catholic, was published. Claude McKay died in Chicago on 22nd May, 1948.

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27 of 28 people found the following review helpful.
Distorted Version of a Brilliant Text
By Ernest J. Mitchell II
Formed in 1992, the X Press intends "to become not only Europe's biggest, but the world's number one black book publisher." Judging by their 2000 edition of McKay's Banjo: A Story Without a Plot (1929), we will have much to fear if they succeed.

The X Press edition is rife with errors and silent emendations, beginning with omission of the book's crucial subtitle: "A Story Without a Plot." This edition also omits McKay's dedication ("For Ruthope"), along with the table of contents and the chapter titles. Worse still, the publishers frequently tamper with McKay's prose, changing punctuation, omitting clauses, and converting McKay's carefully constructed dialect passages into Standard English. Consider the book's second paragraph:

X Press: "It sure is," he noted mentally; "the most wonderful bank in the ocean I ever did see."
Original: "It sure is some moh mahvelous job," he noted mentally; "most wonderful bank in the ocean I evah did see."

X Press omits an entire phrase ("some moh mahvelous job"), blurring two separate thoughts into one and making McKay's semicolon seem ungrammatical. Banjo's vernacular "evah" becomes "ever," far from a minor point since the characters in Banjo frequently reflect on the nature of language and slang. The X Press edition does not eliminate all uses of dialect, but it does efface many. For example, there are eighteen silent emendations of dialect on page 252.

For those readers who wish to appreciate Banjo as McKay intended it, I highly recommend the Banjo (Harvest Book) Harcourt Brace edition (1957/1970), which replicates of the original Harper & Brothers 1929 edition down to the pagination. Far from being a definitive modern re-issue, the X Press edition misrepresents McKay's authorial vision, preventing readers from appreciating one of the great novels of the 20th century.

6 of 7 people found the following review helpful.
An manifesto of Black dignity, a fun book to read
By Tony Thomas
The years after World War One were a time for youth with adventure on their minds to follow what the war showed them and seek the world. This book brings to my mind another book of this heady time of excitement, Dos Passos great _1919_. However, this book goes far beyond the interesting and humorous adventures of its protagonists to sketch a vision of Pan African.

The characters are former sailors and dockworkers on the bum in Marseilles in the early 1920s, all Black from the United States, the West Indies, French and British Africa. Some are uneduated workers and former peasants, at least one is educated, living "the life of the people" on the beach. While careening through adventures involving very much sex, more alcohol, and encounters with whites from every level of European and American society, the book takes up the issues of race and racism, not only on the part of European and American whites, but the prejudices among and within the different Black nationalities themselves.

When the book was published young Africans, young West Indians, and Black Americans, but especially Francophone Blacks like Aime Caesaire and Leopold Senghor would would craft the Black cultural and political affirmations called Negritude, would champion this book as a call for Black unity, dignity, and for looking to the warmth, joy, and passion of the culture and people of Africa and her diaspora int he Americas.

The ordinary reader will enjoy this book because it is told with wit and grace and that it humor comes from the real world. After all, the protagonists live by their wits, not by their labor, and there are enough scraps with romance, hustlers, and the police to keep the plot moving.

I read it because its comments on culture and race are important to my own research, but once reading it, I found myself hungry for its pages every time I put it down, wanting to get through the current adventure and into the next.

0 of 0 people found the following review helpful.
A Story Without A Plot
By Robert
This is easily one of the worst books I've ever been forced to read.

It's like trying to read "The Twelfth Night" upside down... in Braille.

How something like this managed to survive into this century is beyond me.

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Selasa, 17 Februari 2015

# Fee Download The Sitwells: A Family's Biography, by John Pearson

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The Sitwells: A Family's Biography, by John Pearson

John Pearson has sympathetically portrayed the often turbulent private lives of this remarkable English family of poets, memoirists, critics, and patrons, and has evaluated their literary output, in a book that is as entertaining as it is knowledgeable. Index; illustrations.

  • Sales Rank: #532789 in Books
  • Color: Red
  • Published on: 1980-10-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.25" w x 5.51" l, 1.56 pounds
  • Binding: Paperback
  • 528 pages

About the Author
John Pearson is a contributor for the following Houghton Mifflin Company Title: Sitwells

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7 of 7 people found the following review helpful.
Reveals many connections with key 20th Century literary icons
By northkona
Sometimes when one reads a book of over 500 pages it turns out a lot of the content isn't that interesting after all. I enjoyed this treatment of the Sitwells both to find out more about them but also to see how so many other writers, composers, and artists fitted into the first few decades of the 20th Century. Lots of the people brought into the story I knew a little bit about, but this book really helped group them together in a more meaningful way. The author writes well, it doesn't get boring. About the only criticism I have is that the word "facade" shows up too many times. Edith Sitwell and her brothers put together a performance of poetry and music with this title, and I think the author let himself get carried away with use of the word. You do notice it jumping off the page, but it's a minor criticism of a good book. I'm glad I read it, and the price was right because I got an excellent used copy right here at Amazon.

10 of 10 people found the following review helpful.
Engaging family bio
By Dennis Petticoffer
During the first half of the 20th Century, the Sitwells (Edith, Osbert, and Sacheverell) established themselves as one of England's most eccentric and noteworthy families. In defense of modern poetry, they emerged as a distinct literary cult ("the curious Chelsea trinity"), rivaling such Twenties cliques as the Algonquin Round Table, the Bloomsbury group, and the self-exiles in Paris. The Sitwells' impressive output of poetry and criticism was spiced by a generous sprinkling of controversy and scandal. Pearson's engaging biography shows how the family inspired and nurtured its own myth. Along the way, he exposes some less publicized truths which hovered behind the family facade. This book is full of interest and information: a worthy addition to any Anglophile's library.

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Jumat, 13 Februari 2015

* Free PDF Dog Years, by Gunter Grass

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Dog Years, by Gunter Grass

A novel set in three parts, beginning in the 1920s and ending in the 1950s, that follows the lives of two friends from the prewar years in Germany through an apocalyptic period and its startling aftermath. Translated by Ralph Manheim. A Helen and Kurt Wolff Book

  • Sales Rank: #611302 in Books
  • Color: White
  • Published on: 1989-10-16
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.44" w x 5.50" l, 1.61 pounds
  • Binding: Paperback
  • 576 pages
Features
  • ISBN13: 9780156261128
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
Dog Years is a meditation on modern history in the guise of a novel, a study of Germany before, during and after the Second World War, a tale of the interrelated fortunes of two friends, Walter Matern, Aryan, and Eddi Amsel, half-Jew. In its well-nigh stupefying length, in its almost ritual use of distortions, shifting perspectives, and completely unaccommodating, dispassionate weaving of minutiae (at once quaint, brutal, and poetic), and in the terrible geniality of its denunciatory spirit and in its disgusts, it is without doubt one of the most astonishing literary performances since Finnegans Wake. It is also, naturally, one of the most troubling. By comparison, The Tin Drum is a mere roller coaster ride through the Absurd. Grass' technique- a mingling of Beckett, Brecht, and his own half-solemn, half-winking naturalism- Juxtaposes the traditional order of character and situation with quasi-allegorical effects: e.g., the recurrent word play on Heideggerian concepts; the deadpan caricature of mass media, the cool nightmarish descriptions of industry; the quirky, staccato close-ups of front line fighting; above all, the underlying canine metaphor whereby a stud dog, involved in the adolescence of all the participants, fathers der Fuhrer's favorite hound, Pluto, later picked up by Natern on his hellish post-war Journey. Lupus est homo homini etc...??Matern, of course, represents history's adjustable man: protector and tormentor of his "sheeny" friend, battered about the Left and Right ("I was red, put on brown, wore black, dyed myself red. Spit on me..."); Amsel, of course, is his alter ego. Dog Years is a product of the Cold War, in which absolutes boringly teeter on the brink, in which men (who have become sociologized "topics of discussion") scowl at each other or try to touch through a thick universal pane of glass. An important book which will receive an important press. (Kirkus Reviews)

Language Notes
Text: English, German (translation)

About the Author
GÜNTER GRASS (1927–2015), Germany's most celebrated contemporary writer, attained worldwide renown with the publication of his novel The Tin Drum in 1959. A man of remarkable versatility, Grass was a poet, playwright, social critic, graphic artist, and novelist. He was awarded the Nobel Prize for literature in 1999.
 

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28 of 30 people found the following review helpful.
The amazing conclusion to the Danzig Trilogy
By Robert Beveridge
First: If you decide to tackle the Danzig Trilogy, Reddick's critical analysis is indispensable. I suggest tackling it the same way I did: read The Tin Drum, start Reddick's book at the same time you start Cat and Mouse (Reddick reads faster than Grass, and you'll get through a lot of Reddick while tackling Grass), and when you've caught up, read Reddick's section on Dog Years and the actual novel concurrently.

Those of you who feel the revelation of anything having to do with a book before you get to that part in the book is a spoiler should probably avoid this technique; Reddick revelas the major "mystery" in Dog Years towards the end of his section on Cat and Mouse. However, one cannot really consider Dog Years a mystery, despite the various things that happen within it; while there are some elements to it that keep the reader guessing, Dog Years is, more than anything, a savage satire on Germany during the WW2 years. And as such, finding out the main mystery-that's-not-a-mystery should not detract at all from one's appreciation of the book itself.

Dog Years can also stand on its own, without being read as a part of the Danzig Trilogy, but the reader's appreciation of many facets of this novel-- most notably Edouard Amsel's character and the satire itself-- are more easily appreciated when you have The Tin Drum and Cat and Mouse under your belt as comparisons. Amsel, the main protagonist of Dog Years, stands as a direct comparison to both Oskar and Mahlke, and his character is more easily understood when those two have already been assimilated by the reader.

The plot of Dog Years is a simple enough one; it charts, through the use of three narrators, the frindship of Edouard Amsel and Walter Matern from grade school through their early thirties. Amsel, the intellectual one, is picked on constantly by his classmates (including Matern) until one day, for no apparent reason, Matern befriends Amsel and chases away the others. It's a typical buddy-relationship in that Amsel is the brains and Matern is the brawn, but we don't get the bonding we've come to expect from seeing too many Hollywood buddy films. The relationship between Matern and Amsel is far more complex than that, and Reddick has done a passable job of interpreting it, one which I won't attempt to recreate here (it would be ludicrous to attempt something that complex in such a forum as a review). In an odd lapse, though-- especially given how much emphasis Reddick has put on Grass' enmity and stire of the Roman Catholic Church in the previous two books-- Reddick seems to have overlooked one of the most obvious interpretations of Amsel's character (and also that of the more minor protagonist Jenny Brunies), as a christ figure. In the novel's central scene, both Amsel and Brunies (who are both made out, in the first half of the novel, to be almost comically fat) undergo a transformation that transforms Brunies into a ballet sensation and Amsel into another character entirely, the omnipotent Goldmouth; while there is no physical crucifixion here, the path taken by Amsel's character through the rest of the novel certainly implies the path of christ after the resurrection, until his assumption into, in this case, Berlin. For the next hundred or so pages, Goldmouth is never actually seen, only referred to in the good deeds he does for others, and he achieves an almost legendary status among the rank and file for his goodness, his power (in postwar germany, his power is in his connections; who he knows), and the fact that no one really sees him much, but everyone is aware of his presence and his acts. However, Reddick, in his attempt to (successfully) parallel Amsel's character with that of Grass himself, never examines this aspect of Amsel.

This lack also leads to Reddick drawing the conclusion that Dog Years is the weakest of the three books, while still proclaiming that as a whole they rank as the finest piece of modern German literature extant today. I feel Reddick is giving Dog Years short shrift here; while the book does, in fact, have its faults, they are faults shared by the other two novels as well, and I came away from Dog Years thinking that, to the contrary, it was the strongest and most absorbing of the three. While it was more difficult than the other two, it was also more rewarding and more absorbing; it's not often I'll put in three months on one novel, but at no time did I feel that it ever stopped moving me along, and at no time did I ever feel that it was time to put the book down for good.

Keeping this seeming oversight of Reddick's in mind, I still have to recommend his book as a perfect accompaniment to Grass' most famous three novels, and all four of them deserve the attention of every serious student of literature.

17 of 18 people found the following review helpful.
His masterpiece
By A Customer
As good as 'Tin Drum' but far more accessible and direct in its impact on the darkness and light in the German psyche. The only author from Germany to honestly address the issues of what led to WWII and its aftermath. There is a hilarious and brilliant passage towards the end of the second part of the book which takes a savage poke at Heidegger and German love for abstraction. A gem of a book.

9 of 12 people found the following review helpful.
Hate it and love it, love it and hate it
By A Customer
Grass uses wonderful, dense, invented words and peppers his novel with wonderful, dense, twisted imagery. Which is why I admire the work and why I was determined to finish the book although it was as intellectually heavy as a brick and occassionally tried my patience. This is not a book for an MTV-hyperactive attention span. More than a reflection of German mentality, it is a journey into the German mind, because so many times it follows a stream-of-consciousness approach. Sometimes it feels as if you're on a rollercoaster ride through the tunnels of a character's mind. Which is why I hated it too. I felt that many times the book became self-indulgent... that is, Grass wasn't writing for the reader but for himself or as a catharsis for his characters.
I only realized Dog Years was part of a trilogy after I bought it, and I enjoyed The Tin Drum much more because I read it after seeing the movie (it relieved the mind from loads of exertion). Although I am immensely relieved to have finally finished Dog Years, I still can't wait to read the other book of the trilogy, Cat and Mouse. Love to hate Grass.

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