Languages of Truth: Essays 2003-2020Random House Publishing Group, 25. maí 2021 - 368 síđur 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. |
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... death . The end . In a third story a man leaves his child in the care of his friend , a mongoose , and when he returns he sees blood on the mongoose's mouth and kills it , believing it has attacked his child . Then he discovers the ...
... death . The end . In a third story a man leaves his child in the care of his friend , a mongoose , and when he returns he sees blood on the mongoose's mouth and kills it , believing it has attacked his child . Then he discovers the ...
Síđa
... deaths . ( Not for the first time , ordinary people suffered for their rulers ' sins . Wonderland can be as ... death . They simply arrive at the real by a different route . They are so , even though we know that they are not so ...
... deaths . ( Not for the first time , ordinary people suffered for their rulers ' sins . Wonderland can be as ... death . They simply arrive at the real by a different route . They are so , even though we know that they are not so ...
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... death. You can turn and turn the story and the triangle tells you different things. It tells you that art, inspired by love, can have a greater power than death. It tells you, contrariwise, that death, in spite of art, can defeat the ...
... death. You can turn and turn the story and the triangle tells you different things. It tells you that art, inspired by love, can have a greater power than death. It tells you, contrariwise, that death, in spite of art, can defeat the ...
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... death of the gods demands that heroes, men, come forward to take their place. Here, in ancient Greek and Old Norse, are our oldest fables about growing up, about learning that a time must come when our parents, our teachers, our ...
... death of the gods demands that heroes, men, come forward to take their place. Here, in ancient Greek and Old Norse, are our oldest fables about growing up, about learning that a time must come when our parents, our teachers, our ...
Síđa
... death onstage , or , to be exact , actors threw stones at a pram in which the audience was informed a baby was lying , although there was no baby and even the stoniness of the stones is suspect , because they were props , after all ...
... death onstage , or , to be exact , actors threw stones at a pram in which the audience was informed a baby was lying , although there was no baby and even the stoniness of the stones is suspect , because they were props , after all ...
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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Common terms and phrases
adaptation Ai Weiwei Akbar American answer artists asked beautiful became become believe Bhupen Bombay British called character comedy created dead death dream Dunyazad English everything father feel fiction film freedom Gabriel García Márquez García Márquez giant gods Hamza Hamzanama Harold Harold Pinter hero hijras Hindu human Human Stain idea imagination India king knew Kurt Vonnegut language liberty literary literature lives London look magic magic realism Midnight's Children movie Muslim never night novel novelist Oblomov once original painting Pakistan perhaps Philip Roth picture Pinter play political portrait question readers realism reality religion religious remember Saleem Satanic Verses Shah Zaman Shakespeare Slaughterhouse-Five sloth speak story tale tell there’s things thought Tin Drum told Tralfamadore truth turn understand women wonder words writers wrote young