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
Síða
... King Shahryar and ordering her sister, Dunyazad, to sit at the foot of the marital bed and to ask, after Scheherazade's deflowering was complete, to be told a bedtime story...By this time, Shahryar and Shah Zaman were already ...
... King Shahryar and ordering her sister, Dunyazad, to sit at the foot of the marital bed and to ask, after Scheherazade's deflowering was complete, to be told a bedtime story...By this time, Shahryar and Shah Zaman were already ...
Síða
... king's deadly boudoir. Scheherazade, who set herself the heroic task of saving her sisters by taming the king. Who had faith, who must have had faith, in the man beneath the murderous monster and in her own ability to restore him to his ...
... king's deadly boudoir. Scheherazade, who set herself the heroic task of saving her sisters by taming the king. Who had faith, who must have had faith, in the man beneath the murderous monster and in her own ability to restore him to his ...
Síða
... king! But (this is the greatest unanswered question of The Arabian Nights) why on earth did she fall in love with him? And why did Dunyazad, the younger sister who sat at the foot of the marital bed for one thousand nights and one night ...
... king! But (this is the greatest unanswered question of The Arabian Nights) why on earth did she fall in love with him? And why did Dunyazad, the younger sister who sat at the foot of the marital bed for one thousand nights and one night ...
Síða
... king who came home to rule Shahryar's kingdom. And the kings died simultaneously either at their wives' hands or at the vizier's. It's just a theory. Maybe the answer lies in the great lost book. Maybe it doesn't. We can only...wonder ...
... king who came home to rule Shahryar's kingdom. And the kings died simultaneously either at their wives' hands or at the vizier's. It's just a theory. Maybe the answer lies in the great lost book. Maybe it doesn't. We can only...wonder ...
Síða
... king, but Damanaka doesn't like the lion's friendship with another courtier, a bull, and tricks the lion into believing the bull to be an enemy. The lion murders the innocent animal while the jackals watch. The end. In the tales of ...
... king, but Damanaka doesn't like the lion's friendship with another courtier, a bull, and tricks the lion into believing the bull to be an enemy. The lion murders the innocent animal while the jackals watch. The end. In the tales of ...
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
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