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Product description

Own it, snowflakes: you've lost everything you claim to hold dear.

White is Bret Easton Ellis's first work of nonfiction. Already the bad boy of American literature, from Less Than Zero to American Psycho, Ellis has also earned the wrath of right-thinking people everywhere with his provocations on social media, and here he escalates his admonishment of received truths as expressed by today's version of "the left." Eschewing convention, he embraces views that will make many in literary and media communities cringe, as he takes aim at the relentless anti-Trump fixation, coastal elites, corporate censorship, Hollywood, identity politics, Generation Wuss, "woke" cultural watchdogs, the obfuscation of ideals once both cherished and clear, and the fugue state of American democracy. In a young century marked by hysterical correctness and obsessive fervency on both sides of an aisle that's taken on the scale of the Grand Canyon, White is a clarion call for freedom of speech and artistic freedom.

"The central tension in Ellis's art-or his life, for that matter-is that while [his] aesthetic is the cool reserve of his native California, detachment over ideology, he can't stop generating heat.... He's hard-wired to break furniture."-Karen Heller, The Washington Post

"Sweating with rage . . . humming with paranoia."-Anna Leszkiewicz, The Guardian

"Snowflakes on both coasts in withdrawal from Rachel Maddow's nightly Kremlinology lesson can purchase a whole book to inspire paroxysms of rage . . . a veritable thirst trap for the easily microaggressed. It's all here. Rants about Trump derangement syndrome; MSNBC; #MeToo; safe spaces."-Bari Weiss, The New York Times
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Additional ISBN/GTIN9780525656319
Product TypeE-book
BindingE-book
FormatEPUB
Format noteDRM Adobe
FormatE101
Publishing date16/04/2019
LanguageEnglish
File size1029 Kbytes
Article no.8648202
CatalogsVC
Data source no.1906913
Product groupBU150
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Those people unfortunate enough to have read my bio on here will know that fantasy is a genre away from which I usually shy as far as possible. It was therefore with trepidation that I followed several colleagues' recommendation to pick up this book.
Fifty pages and several days later, and I came within millimetres of abandoning it. Although I could see its interest for many (and Clarke's skill as a writer), it was exactly what I dislike about fantasy novels - invented worlds with questionable internal logic etc.

Twenty more pages and I was completely, hopelessly hooked. So much indeed that I read the last hundred-ish pages in one late-night sitting.

So much did I love this book that I am incredibly unwilling to ruin its magic by providing any spoilers. All I'll say is, when reading it, I kept thinking, "This is like a better, pithier version of Donna Tartt's 'A Secret History'". If this is fantasy and it can be this good, I need to change my bio sharpish.
Die Regisseurin, Filmemacherin, Schriftstellerin & leidenschaftlich Reisende Doris Dörrie nimmt uns mit nach Tokio, San Francisco und Marrakesch anno 2019 und damit wissen wir, dass dies erst einmal ihre letzten Trips sein werden. Zu Beginn bietet sie uns einen veritablen Heldenkulturgeschichtsabriss: Wie wird mann! zum Helden und wieso wird der! Frau verwehrt, ebenfalls auf Aventiure-Fahrt zu gehen, um Heldinnengeschichte zu schreiben? Dörrie antwortet, indem sie ihr(e) Reisen schildert: Ihre große Neugier auf das Andere, das Unbekannte, ihre Erlebnisse & Erfahrungen und wie sie daran wuchs. Vor diesem Hintergrund verhandelt sie gar nebenbei lebensformende Themen wie Freundschaft, Liebe, Beziehungen, Enttäuschung, Rassismus, Privilegien, Emanzipation, unerhört überholte Geschlechterrollen, weibliche Körperlichkeit, dezidiert weibliches Altern & den grausamen männlich-patriarchalen Blick darauf: Eine mitreißende, nachdenklich machende Bestandsaufnahme einer klugen unabhängigen Frau.
This book is something different! I enjoyed every minute of reading and gazing over the beautiful pictures in this book. "film for her" collects thoughts, peoems and texts about so many different topics and the analogue photos of Carloto add to the "dreamy" vibes this book gave me. Realationships, Coming of age, loss and so many different aspects of life can be found in between the pages and I felt so inspired. Sometimes you don't need thousands of words or all the lost photos in your phone library. Sometimes you just need Paper, a pen and an old camera with limited pictures.
Isabel Allende beschreibt in ihrem Memoir "Was wir Frauen wollen" ihre Entwicklung zu einer der ambitioniertesten Feministinnen unserer Zeit. Sie verspürte schon als zorniges Kind, das in Chile der 50er Jahre in einem patriarchalischen Umfeld aufwuchs, den Drang eine bessere Welt für die Frauen zu gestalten. Ihr aktiver Einstieg begann mit der Mitwirkung bei der Frauenzeitschrift Paula, ein Katalysator für ihr unermüdliches Engagement. Ihre Devise, auch wenn der Feminismus ein halbes Jahrhundert alt ist, ist nach wie vor dass der Kampf weitergehen muss und wir uns auf unsere Mütter und Großmütter berufen und zurückbesinnen können.
Daniel Schreiber beleuchtet in seinem neuen Essay "Allein" ein existenzielles Thema unserer Zeit. Noch nie haben so viele Menschen alleine gelebt. Schnell kann das selbstbestimmte Leben in Zeiten der Pandemie in Einsamkeit enden. Kann man auch alleine glücklich sein? Warum wird das alleine leben oft als Scheitern wahrgenommen? Welche Rolle spielen Freundschaften? Wie wollen wir leben? Ein sehr berührendes und persönliches Buch.
Allein mit dem ersten Satz des Buches "Nirgends ist der Frühling schöner als in London." war es um mich geschehen: In diesem Text würde ich die Perspektive eines Menschen kennenlernen, die sehr gekonnt auch von den eigenen Fragen und Sehnsüchten, von Erfahrungen des kosmopolitischen Lebens, von Sprache und Verbundenheit zu erzählen vermag. Dabei zieht Schreiber für seinen Essay große Philosoph*innen und Denker*innen heran und prüft seine eigene Position gegen, entwickelt und reflektiert sie daraus. Ein Suchender, der seinen Findungsprozess offenlegt. Von der "Ausweitung einer inneren Geographie" schreibt Schreiber, und davon, sich einen "inneren Ort" zu "erarbeiten". "Zuhause" erzählt feinsinnig von Sehnsucht, vom Werden eines Menschen, von Herkunft und Wandel, von persönlicher Geschichte und Zukunftsvisionen. Und davon, ganz bei sich zu sein, wo auch immer. Es ist ein persönliches Herzensbuch. Wie auch sein Buch "Allein".
Schon seit ihrer Jugendzeit ist Rebecca Solnit beeindruckt vom Werk George Orwells. Ein kurzes Essay Orwells, mit dem Titel " A Good Word for the Vicar of Bray" erschienen im Jahr 1946 und ein Gespräch mit Freunden sind der Auslöser für dieses Buch. Sie spürt das abgeschiedene Dorf und Orwells Haus auf, und den immer noch von Orwells Hand gepflanzten Rosen im Garten blühen. Sie folgt ihm, hineingeboren in eine Zeit, voller Konflikte und Kriege, einem Mann der selbst durch Krankheiten körperlich eingeschränkt ist, aber sein Leben intensiv zu leben vermag. Das Wenige was er an Kraft besitzt, investiert er in einen Garten mit Tieren, Obstbäumen, Pflanzen und Tieren. Solnit schreibt hier keine Biografie, sondern legt den Schwerpunkt auf die Persönlichkeit Orwells, Orte die ihn geprägt haben, sowie den politischen, industriellen und ökologischen Brüchen seiner Zeit. Eine kluge, nachdenkliche und optimistische Lektüre. Ich kann mich Margaret Atwoods Begeisterung nur anschließen!
In Bernhard Schlinks 1. Drama (man mag es bei dem gelungenen Arrangement kaum glauben) führt eine Gruppe von 5 Abiturient:innen und ihr Geschichtslehrer eine mehrere Tage umfassende Diskussion über das Stauffenberg-Attentat und inwiefern ein solches zu einer anderen Zeit mehr Sinn ergeben hätte und ob es heutzutage ebenfalls gerechtfertigt werden könnte? Die Jugendlichen vertreten dabei sehr unterschiedliche (gemäßigte & radikale) Ansichten, der Lehrer scheint an vielen Stellen überfordert. Alle schauen düster in eine Zukunft, in der rechte Parteien einen Aufschwung verzeichnen und die große Masse schweigend zuschaut. Doch rechtfertigen angenommene Zukünfte einen präventiven Tyrannenmord ? Darin können und wollen sich die handelnden Personen gar nicht einig werden. Ihre persönlichen Schicksale und Abhängigkeiten spielen außerdem mit in das Geschehen und lassen am Ende eher ein zerstrittenes Kollektiv zurück. Die Handlungsmöglichkeiten gegen ein autokratisches System werden immer wieder aufgerollt, der Text wird letztlich zum Plädoyer, ins Handeln zu kommen und von vermeintlich "einfachen" Lösungen abzusehen. Die Demokratie als schützenswertes Gut ist uns einfach zur Selbstverständlichkeit geworden. Dabei braucht sie uns genau jetzt.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
In diesem französischen Klassiker versucht die Hauptfigur Emma sich aus den engen Fesseln der französischen Gesellschaft zu befreien und ein selbstbestimmtes, glückliches Leben zu führen. Flaubert gibt wie niemand vor ihm jeder Figur ihre eigene Sprache und ihren eigenen Ausdruck. Bewundert von seinen Zeitgenossen und Nachfolgern wie Sartre und Perec liegt hier einer der ersten realistischen Romane der Weltliteratur in der preisgekrönten Übersetzung von Elisabeth Edl vor. Inklusive sehr aufschlussreichen Fußnoten und Kommentaren der Übersetzerin über die Entstehung des Werks.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Not only can she masterfully illustrate covers (see Sally Rooney's books), she can also fill a whole book with her stunning and surreal artworks. Adorned with short poems next to each picture this book will let you dive into Henn's emotional worlds.
Absolutely captivating!
Her way of writing is magnificent, first and foremost. The essays were very interesting and greatly researched. At the same time there was a good balance of personal experience and societal topics. Some of the themes I had already seen docs on or read something else about. Also it was quite America-Centric, which gave it some limits.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
I like reading about toxic friendships and female group dynamics and this novel did not disappoint - a terrific book, full of Nigerian food and culture, Lagos in London.
In the vast arena of romantic fiction a couple of real gems are hiding and Mhairi McFarlane is one of them. Despite the cutesy covers, her novels tend to explore difficult and painful emotional terrain, from manipulative partners to the death of loved ones. Her style is approachable but full of beautiful phrases, sharp observations and funny one liners. Her plots likewise, which tend to be the downfall of so much romantic fiction, are always surprinsing and cleverly structured. Her latest novel about photographer Harriet who battles with several ghosts in her past (sometimes literally) and her flatmate Cal who's awful blunder of having left his bride at the altar turns out to be more complicated is well up to her usual standards. If the mood strikes you for lighthearted but intelligent fiction this summer, you could do a lot worse than this one!
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Not only can she masterfully illustrate covers (see Sally Rooney's books), she can also fill a whole book with her stunning and surreal artworks. Adorned with short poems next to each picture this book will let you dive into Henn's emotional worlds.
Absolutely captivating!
You know the joke about "Breaking Bad", if it were set in Europe? Middle-class teacher is diagnosed with cancer and gets treated. The End. Well, reading this novel was a bit like this. Our heroine Lynette is working three jobs and juggling care for her brother with special needs, all to finally be able to pay the down payment for their small house in rapidly gentrifying Seattle. When one of the building blocks suddenly falls through, Lynette embarks on an increasingly desperate odyssey to try and secure the money to guarantee her family some sort of stability. Vlautin gripplingly captures the flimsiness of the American welfare system and the precariousness of the people at its edges. The lack of real working class voices is a sad but known failing in the book world. Vlautin is a refreshing exception to this: his working class protagonists are imbued with real life experience. Written in the tradition of American hero stories, this novel provides nonetheless unflinching judgement.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Jane Austen is a writer ruined by TV adaptation (before you all start writing letters, I know there are good ones). Despite two centuries of inclusion in the canon, there are still many (and I am afraid they are mostly men) who dismiss her as 'frivolous', 'saccharine' or 'unserious'. This means it is only worth continuing to discuss Austen with people if they either don't use any of the aforementioned adjectives or if, by the latter, they mean, she is one of the funniest writers in English (full stop). If you don't know this already, the first page of 'Persuasion' will convince you, and then her biting, satirical commentary on Georgian society will show you that far from reverently writing about it out of admiration, she irreverently lambasts it and its eccentric snobbish hierarchy (people who write her off will probably say John Oliver likes Trump because both wear suits). If you don't believe me (and even if you do), read her (and start with 'Persuasion') before you watch her.
Set to be released as a film with Michelle Pfeiffer (whenever cinemas might be able to open again, that is), this was a delightfully weird and comical read. A notorious New York widow discovers that her money's run out so performs a literal French exit and absconds to Paris with her grown-up son and their eccentric cat. It's a comic novel in the best tradition: skewering the upper classes, zingy one-liners, wild characters but with a deeply felt emotional centre. Think of it as the sassier companion to Anna Gavalda's Paris novel "Ensemble, c'est tout" about a bunch of misfits banding together. I thoroughly enjoyed it and could have done just for the scene where the mother summons a rude waiter by setting the flowers on the table on fire.
Ein visionäres, klangvolles und zudem gut verständliches Theaterstückt bringt der jungen Lorraine Hansberry im Jahre 1959 den Erfolg am Broadway, als 1. Woman of Color. Ihr wichtigstes Werk, das James Baldwin als eine der realistischsten Abbildungen einer schwarzen Familie in den USA bezeichnet hat, dreht sich rundum die Youngers. Eine fast gewöhnliche Familie, in der nun ein Check über 10,000 $ erwartet wird, an die jede:r einen materiellen oder freiheitlichen Wunsch knüpft. Alle Familienmitglieder sind denkbar unterschiedlich gesinnt, man jagt den Träumen nach, fühlt sich aber vom Leben enttäuscht, ausgelaugt und abgehängt. Die winzige Wohnung ist für 5 Personen nicht geeignet, die Generationen, Eheleute und Geschwister reiben sich aneinander auf und kommen zu keinem Kompromiss. Missverständnisse, Identitätsfragen und den Kampf gegen schwelenden Rassismus lesen wir aus allen Szenen heraus, die perfekt aufeinander abgestimmt sind. Gerade Walter Lee in seiner Verzweiflung erinnerte mich stark an Willy Loman aus "Tod eines Handlungsreisenden" von Arthur Miller, das 10 Jahre zuvor entstand. Hansberry reiht sich mühelos in die großen amerikanischen Dramatiker:innen ihrer Zeit ein.

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