Languages of Truth: Essays 2003-2020Random House Publishing Group, 25. maí 2021 - 368 síður Newly collected, revised, and expanded nonfiction from the first two decades of the twenty-first century—including many texts never previously in print—by the Booker Prize–winning, internationally bestselling author Longlisted for the PEN/Diamonstein-Spielvogel Award for the Art of the Essay Salman Rushdie is celebrated as “a master of perpetual storytelling” (The New Yorker), illuminating truths about our society and culture through his gorgeous, often searing prose. Now, in his latest collection of nonfiction, he brings together insightful and inspiring essays, criticism, and speeches that focus on his relationship with the written word and solidify his place as one of the most original thinkers of our time. Gathering pieces written between 2003 and 2020, Languages of Truth chronicles Rushdie’s intellectual engagement with a period of momentous cultural shifts. Immersing the reader in a wide variety of subjects, he delves into the nature of storytelling as a human need, and what emerges is, in myriad ways, a love letter to literature itself. Rushdie explores what the work of authors from Shakespeare and Cervantes to Samuel Beckett, Eudora Welty, and Toni Morrison mean to him, whether on the page or in person. He delves deep into the nature of “truth,” revels in the vibrant malleability of language and the creative lines that can join art and life, and looks anew at migration, multiculturalism, and censorship. Enlivened on every page by Rushdie’s signature wit and dazzling voice, Languages of Truth offers the author’s most piercingly analytical views yet on the evolution of literature and culture even as he takes us on an exhilarating tour of his own exuberant and fearless imagination. |
From inside the book
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Síða
... play stories every day, they stormed castles and conquered nations and sailed the ocean blue, and at night their dreams were full of dragons. They were all storytellers now, makers of stories as well as receivers of stories. But they ...
... play stories every day, they stormed castles and conquered nations and sailed the ocean blue, and at night their dreams were full of dragons. They were all storytellers now, makers of stories as well as receivers of stories. But they ...
Síða
... playing hunger games, and Leonardo da Vinci is just a code. Serious fiction has turned toward realism of the Elena Ferrante and Knausgaard kind, fiction that asks us to believe that it comes from a place very close to if not identical ...
... playing hunger games, and Leonardo da Vinci is just a code. Serious fiction has turned toward realism of the Elena Ferrante and Knausgaard kind, fiction that asks us to believe that it comes from a place very close to if not identical ...
Síða
... play One Way Pendulum, one of the very few competent British contributions to the Theatre of the Absurd. In this play, a man receives by mail order a full-size replica in do-it-yourself kit form of a courtroom in the Central Criminal ...
... play One Way Pendulum, one of the very few competent British contributions to the Theatre of the Absurd. In this play, a man receives by mail order a full-size replica in do-it-yourself kit form of a courtroom in the Central Criminal ...
Síða
... played the part of the book being read by the character Desmond on Oceanic Flight 815 during the flash-sideways timeline. I really hope some readers will understand what that sentence means, because I certainly do not. “What's the use ...
... played the part of the book being read by the character Desmond on Oceanic Flight 815 during the flash-sideways timeline. I really hope some readers will understand what that sentence means, because I certainly do not. “What's the use ...
Síða
... play of that name, is asked what he has learned, and replies, “I learned that there is nothing to learn in the Deep North.” Nothing to learn on the journey is the wisdom of the journey, wisdom itself being the grand illusion. of Edward ...
... play of that name, is asked what he has learned, and replies, “I learned that there is nothing to learn in the Deep North.” Nothing to learn on the journey is the wisdom of the journey, wisdom itself being the grand illusion. of Edward ...
Efni
Heraclitus | |
Another Writers Beginnings | |
Philip Roth | |
Kurt Vonnegut and SlaughterhouseFive | |
Samuel Becketts Novels | |
Cervantes and Shakespeare | |
Hans Christian Andersen | |
Very Well Then I Contradict Myself | |
The Pen and the Sword | |
PEN World Voices Opening Night 2017 | |
The Emperor Akbar and the Making | |
Letters | |
Bhupen Khakhar 19342003 | |
An American Index of the Hidden and Unfamiliar | |
Harold Pinter 19302008 | |
Introduction to The Paris Review Interviews Vol IV | |
Adaptation | |
From Saligia to Oblomov | |
Kara Walker at the Hammer Museum Los Angeles 2009 | |
The Unbelievers Christmas | |
A Personal Engagement with the Coronavirus | |
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actually adaptation American answer artists asked beautiful became become beginning believe better Bombay British called character close created dead death English example face fact father feel fiction figure freedom give gods hand happened hijras human hundred idea imagination India interesting it’s kind king knew language later learned least less literary literature lives London look lost magic means mind movie nature never night novel once original painting perhaps Persian person picture play political published question readers religious remember Roth seems Shakespeare sometimes speak stand story tell things thought told true truth trying turn understand voice whole women wonder writers wrote young