Essays/Creative Non Fiction
A brilliant, idiosyncratic collection of introductions and afterwords (plus some liner notes) by New York Times bestselling and Pulitzer Prize winning author Michael Chabon--"one of contemporary literature's most gifted prose stylists" (Michiko Kakutani, New York Times).
In Bookends, Pulitzer Prize winning author Michael Chabon offers a compilation of pieces about literature--age-old classics as well as his own--that presents a unique look into his literary origins and influences, the books that shaped his taste and formed his ideas about writing and reading.
Chabon asks why anyone would write an introduction, or for that matter, read one. His own daughter Rose prefers to skip them. Chabon's answer is simple and simultaneously profound: "a hope of bringing pleasure for the reader." Likewise, afterwords--they are all about shared pleasure, about the "pure love" of a work of art that has inspired, awakened, transformed the reader. Ultimately, this thought-provoking compendium is a series of love letters and thank-you notes, unified by the simple theme of the shared pleasure of discovery, whether it's the boyhood revelation of the most important story in Chabon's life (Ray Bradbury's "The Rocket Man"); a celebration of "the greatest literary cartographer of the planet Mars" (Edgar Rice Burroughs, with his character John Carter); a reintroduction to a forgotten master of ghost stories (M. R. James, ironically "the happiest of men"); the recognition that the worlds of Wes Anderson's films are reassembled scale models of our own broken reality (as is all art); Chabon's own rude awakening from the muse as he writes his debut novel, The Mysteries of Pittsburgh; or a playful parody of lyrical interpretation in the liner notes for Mark Ronson's Uptown Special, the true purpose of which, Chabon insists, is to "spread the gospel of sensible automotive safety and maintenance practices."
Galaxies away from academic or didactic, Bookends celebrates wonder--and like the copy of The Phantom Tollbooth handed to young Michael by a friend of his father he never saw again--it is a treasured gift.
Local Color was the third published book by the American author Truman Capote, released in the Fall of 1950. It includes notes and sketches about persons and places, including travel journal-style essays on cities and countries Capote had lived in or visited.
1st printing. Dust jacket in protective cover; unclipped; edges worn; corners chipped; spine tanned; black cloth over black & white paper boards; corners bumped; endpapers tanned; binding tight; text clean. G+/G
For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. Some came from conservative and religious families, others were progressive and secular; several had spent time in jail. They were shy and uncomfortable at first, unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Their stories intertwined with those they were reading--Pride and Prejudice, Washington Square, Daisy Miller and Lolita--their Lolita, as they imagined her in Tehran.
Nafisi's account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl of protests and demonstrations. In those frenetic days, the students took control of the university, expelled faculty members and purged the curriculum. When a radical Islamist in Nafisi's class questioned her decision to teach The Great Gatsby, which he saw as an immoral work that preached falsehoods of "the Great Satan," she decided to let him put Gatsby on trial and stood as the sole witness for the defense.
Azar Nafisi's luminous tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women's lives in revolutionary Iran. It is a work of great passion and poetic beauty, written with a startlingly original voice.
