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Product description

Words have power. Yet that power must be rooted in truth and justice. Words must never stand apart from those principles.

'You end this collection...vowing to never let life, or writing, get so complicated again' Guardian

Readers who have long wondered where the mysterious novelist gets his ideas and what inspires his beautifully surreal worlds will be fascinated by this highly personal look at the craft of writing.

In this engaging book, the internationally best-selling author shares with readers what he thinks about being a novelist; his own origins as a writer; and his musings on the sparks of creativity that inspire other writers, artists, and musicians.

'Murakami is like a magician who explains what he's doing as he performs the trick and still makes you believe he has supernatural powers' New York Times Book Review

'A fascinating glimpse of the peculiar writerly life' Sunday Times

** A TIMES, SUNDAY TIMES and NEW STATESMAN BOOK OF THE YEAR**
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Details

Additional ISBN/GTIN9781473547315
Product TypeE-book
BindingE-book
FormatEPUB
Format noteDRM Adobe
FormatE101
PublisherRandom House
Publishing date08/11/2022
LanguageEnglish
File size1231 Kbytes
Article no.10634319
CatalogsVC
Data source no.3328209
Product groupBU562
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Ratings

Recommendations for similar products

After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

I hope to hear more of her publishings soon
Viola Davis impresses with intensity in cinema, for television and on stage. In 'Finding me' we accompany the actress through her childhood and to the roots of her strength.
It's a tough road full of adversity, setbacks and trauma.
Viola's powerful writing is breathtaking, relentlessly honest and full of wise insights.
I really love it.
We're zooming in and out of T. Fleischmann's life in this dazzingly beautiful piece of literature, which is exactly what its title would suggest: a fragmentory reflection on what it means to have a trans body, and how it affects Fleischmann's way of existing in time, explored through a work that is part memoir, part travelogue and part essay about the artist Felix Gonzalez-Torres. Fleischmann choses to literally reject all kinds of metaphor, but they also don't feel the need to spell things out - that's why this book manages to invent an unusually poetic space where things remain just as they are, capable of carrying multiple meanings at once (queer experience being the main aspect this relates to, but not exclusively so). This is a text that is messy on purpose, that is hard to grasp and at the same perfectly precise; an ode to being complexely alive in the world.
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
Will man die großen amerikanischen Dramen der 50er Jahre kennenlernen, führt wohl kein Weg an Tennessee Williams vorbei. 1955 entstand Cat on a Hot Tin Roof und brachte einen Broadway Erfolg und einen weiteren Pulitzerpreis für den Autor. Wir lernen die Familie Pollitt kennen, wohlhabende Baumwollplantagenbesitzer. Zu Hauptfiguren stilisieren sich von Beginn an Maggie the Cat und Brick (der verletzte ehemalige Football-Spieler), seit Jahren verheiratet, kinderlos und schon seit einiger Zeit nicht mehr glücklich. Daneben steht das kinderreiche Paar Mae und Gooper, die versuchen Big Mama und Big Daddy zu gefallen. Der tieferliegende Konflikt wird nach und nach aus den langen Dialogen herausgeschält und überraschte beim Lesen doch stark. Manche Themen erwartet man vielleicht nicht in solch psychologisch-biographischen Stücken. Darüber hinaus fliehen die Figuren in Alkohlismus & Einsamkeit (Brick) oder finden sich auf dem heißen Blechdach wieder (Maggie), von dem es aus eigentlich nur einen Weg gibt. Das Drama entfaltet Stück für Stück die kommunikativen und gesellschaftlichen Probleme, die alle Figuren miteinander verbinden. Tennessee Williams zeichnet dabei höchst verständnisvoll zarte, sanfte Figuren, die an den scharfen Kanten der sie umgebenden Welt versehrt werden. Großartig eingesetzte Regieanweisungen unterstreichen die Stimmung des Werkes bis zum Schluss. Hier freue ich mich auf einen baldigen Theaterbesuch!
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
It's admittedly slightly too late for this recommendation, but then again the Italian April is arguably more equal to the German May. An absolutely delightful holiday novel about four women escaping to a romantic Italian castle for some time to themselves - only to be literally spellbound by it. Read it for the lush Italian gardens and the irresistible spring airs - maby skim over some of the more dated romantic version of musical chairs.
Not many authors manage to be admired and thought of as somehow 'classic' with only three books under their belt but Jo Ann Beard is one of them. Her debut essay collection "Boys of My Youth" introduced her trademark style of autofictional, highly stylized and ruminative essays that centre around keen observations of beautiful quotidian lives. After having published a novel, this collection once again returns to the literary essay. Death, its reality and propensity for forcing clarity is the theme that runs through the book. The death of a beloved dog, of a friend, of oneself indeed. Beard collects beautiful details, seemingly small things and weaves an almost spiritual literary tapestry from her material. I found myself losing her sometimes but if you trust her, an astonishing hook, a breathtakingly turned sentence will always draw you back in.
After reading my collegue's review, I decided to give it a shot, being sex-related sociology amongst my fields of interest.
Ania Srinivasan deals with thorny topics which feminists have been engaging for decades with, without coming across as condescending. On the contrary, her stance on the different issues is imbued with knowledge and humbleness of not having necessarily the final answer. Her intellectual honesty is just so outstanding that - no matter if you agree with her or not - you can't help but keep the book glued to your eyes!

I hope to hear more of her publishings soon
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.
Auch wenn ich Zweigs Sprache bisweilen als etwas schwulstig und altertümlich empfinde und die Miniaturen ein gewisses Maß an Geschichtswissen voraussetzen, haben mich viele der Handlungen gepackt. Besonders Scotts dramatische Südpolexpedition war fast unerträglich spannend.
Der ganz besondere Reiz dieses Buches ist, dass es sich um wahre Begebenheiten handelt und somit Geschichte lebendig werden lässt. Als Leser lernt man unter anderem Händel, Goethe und Tolstoi privat kennen und hat das Gefühl, mit ihnen in einem Raum zu sitzen.
In Kapuscinski's strange, genre-defying work, a choir of former courtiers whispers to him about the extravagances and eventual decline of the Ethiopian monarchy. The book sits somewhere between oral history and reportage but its strange magic is wrought through the voices of the disgraced king's servants, now in hiding and only to be met through secret doors. They describe the lavish palace, the absurd rituals and the absolute power of the king that everyone had to scrape under. Their flowery language of adoration and servitude masks hidden depths of resentment and glee. It is this contradiction, as well as the observations on possibly the last absolutist monarchy, that make this book the astonishing masterpiece it is.

Author

In 1978, Haruki Murakami was 29 and running a jazz bar in downtown Tokyo. One April day, the impulse to write a novel came to him suddenly while watching a baseball game. That first novel, Hear the Wind Sing, won a new writers' award and was published the following year. More followed, including A Wild Sheep Chase and Hard-Boiled Wonderland and the End of the World, but it was Norwegian Wood, published in 1987, which turned Murakami from a writer into a phenomenon. His books became bestsellers, were translated into many languages, including English, and the door was thrown wide open to Murakami's unique and addictive fictional universe.

Murakami writes with admirable discipline, producing ten pages a day, after which he runs ten kilometres (he began long-distance running in 1982 and has participated in numerous marathons and races), works on translations, and then reads, listens to records and cooks. His passions colour his non-fiction output, from What I Talk About When I Talk About Running to Absolutely On Music, and they also seep into his novels and short stories, providing quotidian moments in his otherwise freewheeling flights of imaginative inquiry. In works such as The Wind-Up Bird Chronicle, 1Q84 and Men Without Women, his distinctive blend of the mysterious and the everyday, of melancholy and humour, continues to enchant readers, ensuring Murakami's place as one of the world's most acclaimed and well-loved writers.