Languages of Truth: Essays 2003-2020Newly 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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I too was writing about a woman walking along the knife-edge of this vulnerable power and eventually having to run for her life, and I was struck by how much of the literature of the fantastic deals with the fear of women and the ...
I too was writing about a woman walking along the knife-edge of this vulnerable power and eventually having to run for her life, and I was struck by how much of the literature of the fantastic deals with the fear of women and the ...
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People don't remember, or perhaps they do, perhaps a few people remember, Edward Bond's play Bingo, in which Shakespeare himself shows up, because for writers there's no escape from the fellow. (I myself have a brass door knocker in the ...
People don't remember, or perhaps they do, perhaps a few people remember, Edward Bond's play Bingo, in which Shakespeare himself shows up, because for writers there's no escape from the fellow. (I myself have a brass door knocker in the ...
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second-best bed was the marital bed, the bed in which they made love, Mistress Hathaway and the genius who couldn't spell his own name, writing it, on one occasion in those days before formalized orthography and spelling bees, ...
second-best bed was the marital bed, the bed in which they made love, Mistress Hathaway and the genius who couldn't spell his own name, writing it, on one occasion in those days before formalized orthography and spelling bees, ...
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Edward Bond and his Shakespeare are writers who, like Kafka, long ago entered my personal tradition, the only tradition that's worth a damn to a practicing writer being the one he forges for himself, that is not laid down by high ...
Edward Bond and his Shakespeare are writers who, like Kafka, long ago entered my personal tradition, the only tradition that's worth a damn to a practicing writer being the one he forges for himself, that is not laid down by high ...
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... by Shakespeare to writers in the English language is his incredible freedom of form, a freedom not granted to, for example, French writers by, for example, Racine, who might have been a great playwright but his forms weren't free, ...
... by Shakespeare to writers in the English language is his incredible freedom of form, a freedom not granted to, for example, French writers by, for example, Racine, who might have been a great playwright but his forms weren't free, ...
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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
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| Titill | Languages of Truth: Essays 2003-2020 |
| Höfundur | Salman Rushdie |
| Útgefandi | Random House Publishing Group, 2021 |
| ISBN | 0593133188, 9780593133187 |
| Length | 368 síður |
| Export Citation | BiBTeX EndNote RefMan |