- Tapa blanda: 300 páginas
- Editor: McSweeney's Publishing (23 de diciembre de 2014)
- Colección: McSweeney's Quarterly Concern
- Idioma: Inglés
- ISBN-10: 194045008X
- ISBN-13: 978-1940450087
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº920.862 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
McSweeney's Issue 48 (McSweeney's Quarterly Concern) (Inglés) Tapa blanda – 23 dic 2014
|Nuevo desde||Usado desde|
|Tapa blanda, 23 dic 2014||
Los clientes que compraron este producto también compraron
Descripción del producto
Reseña del editor
Each issue of the quarterly is completely redesigned. There have been hardcovers and paperbacks, an issue with two spines, an issue with a magnetic binding, an issue that looked like a bundle of junk mail, and an issue that looked like a sweaty human head. McSweeney's has won multiple literary awards, including two National Magazine Awards for fiction, and has had numerous stories appear in The Best American Magazine Writing, the O. Henry Awards anthologies, and The Best American Short Stories. Design awards given to the quarterly include the AIGA 50 Books Award, the AIGA 365 Illustration Award, and the Print Design Regional Award.
Biografía del autor
Dave Eggers lives in the San Francisco Bay Area. McSweeney's began in 1998 as a literary journal that published only works rejected by other magazines. That rule was soon abandoned, and since then McSweeney's has attracted work from some of the finest writers in the country, including Denis Johnson, Jonathan Franzen, William T. Vollmann, Rick Moody, Joyce Carol Oates, Heidi Julavits, Jonathan Lethem, Michael Chabon, Ben Marcus, Susan Straight, Roddy Doyle, T. C. Boyle, Steven Millhauser, Gabe Hudson, Robert Coover, Ann Beattie, and many others. At the same time, the journal continues to be a major home for new and unpublished writers; we're committed to publishing exciting fiction regardless of pedigree.Boots Riley lives in Oakland, California. He is the frontman and songwriter for The Coup. Right-wing columnist and Fox News contributor Michelle Malkin once called his work "A stomach-turning example of anti-Americanism disguised as high-brow intellectualism." Boots was surprised and elated by the compliment.
No es necesario ningún dispositivo Kindle. Descárgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador.
Obtén la app gratuita:
Detalles del producto
Si eres el vendedor de este producto, ¿te gustaría sugerir ciertos cambios a través del servicio de atención al vendedor?
Ninguna opinión de cliente
|5 estrellas (0%)|
|4 estrellas (0%)|
|3 estrellas (0%)|
|2 estrellas (0%)|
|1 estrella (0%)|
Valorar este producto
Opiniones de clientes más útiles en Amazon.com
"With sixteen new stories and a full-length screenplay, McSweeney’s 48 was just too much for a single book to hold—a wild leviathan, you could say, whose tongue we could not tie down with a rope. (Job 41:1 is now believed to refer to this issue.) We were, however, able to split it into two books, and the results are terrific. In the first, we’ve got stunning work from Kelly Link, Rebecca Curtis, Etgar Keret, and Ismet Prcic, as well as stories of blind boyfriends and dead tourists and doomed Moldovan press junkets; in the second, we’ve got the delightfully weird debut screenplay of none other than Boots Riley, frontman of the Coup."
Be warned and don't get duped by these sellers wanting astronomical prices for an incomplete issue. I suggest asking questions up front...
Now 49 and 50 have both come out, with 51 on its way, so I revisited it. For those waiting on pins and needles for my official review, I apologize. Issue 48 is a hefty issue, with 480 pages of content, much of it featuring a spotlight on Croatian writing (as they've done with other countries throughout their print run), and it sure seems like there'd be a lot of space to fill it with great writing. Or even just a lot of good writing. Or SOME good writing somewhere in there, right? Unfortunately, with apologies to Ferić, Karakaš, McManus, Prcic, Link, and Keane, this is one of the weakest issues of them all.
Let's start with the fabulist screenplay by Boots Riley. It's about a telemarketer who rises meteorically through his business to become a power player and participate in a bizarre interspecies human slavery scheme. A stupefying read that celebrates its own myopia and revels in upholding the easiest stereotypes. Riley burns strawmen left and right and wants you to applaud him for doing so. In this screenplay, rich people are bad and poor people are good, white people are bad and black people are good, and so forth: what you have is a dull collection of the lazy ciphers floundering in their one-dimensionality. Tellingly, one character is named Fancy Suit Guy, while another is “a stereotypical white woman.” Stereotypical indeed. “There must be more to life / Than stereotypes,” Boots. The whole thing celebrates the stereotypes it claims to want to upset because it’s terrified of actual complexity. This would only work if there was even a modicum of self-awareness to the whole thing, and it embraced its absurdity more than its “social importance.” McSweeney’s, tripping over itself to publish anything “socially important,” has completely lost its eye for quality in presentation. It’s all the more maddening here because Riley’s plot is fairly interesting in how unhinged it allows itself to be (minus an endless, never-funny callback to viral Internet content), but that plot can’t flourish in this sterile prison of a structure, with these paint-by-numbers nobodies. Kill the message and tell the damn story. As Richard Hugo says, “If you feel pressure to say what you know others want to hear and don’t have enough devil in you to surprise them, shut up.”
Unfortunately, many of the stories suffer from this need to be "important" without feeling the need to be "good." Julia Slavin has one of the most obnoxious pieces I’ve ever read in McSweeney’s. She takes topicality (McSweeney’s Achilles’ heel) to an exponential, ludicrous degree, just overloading the topicality circuits (al Qaeda and Qaddafi and Kate Spade and sweatshop protest labor camp YouTube WWOOFing etc. etc). Topicality actually becomes the main character of the piece, so front and center is it, relegating all other plot to the hazy sidelines. It reads like the dolphin tank that creates Family Guy episodes, plotwise, and its dialogue is stilted to the point of sounding like it was written by an alien. It follows one male protestor who beds a kind of fantasy female protestor—whose clothes are made of newspaper—earning himself a modicum of tent city fame. No one talks or acts like a human being at any point, least of all the narrator. It’s proper-nouned into unreadability. I don’t know if it’s trying to be funny or what, but it doesn’t land on any front.
Meanwhile, Rebecca Curtis somehow one-ups her with perhaps the worst thing McSweeney’s has ever published. This humor-poor, idea-bereft lemon reads like an overlong daily humor reject from their main site, a groaningly bad Shouts & Murmurs–style superfailure. Curtis takes a news peccadillo (a senator compared something to Waterloo once) into a labored, embarrassing exercise in what the author thinks is satire. An unwitting self-parody of the McSweeney’s brand. It sucks.
Others fare differently, but again, of all the material here, there are only six or seven highlights. Here's a story-b'-story breakdown:
Dan Keane: 8. A likely nonfiction essay masquerading as a story, this piece follows international reporters based in La Paz as they report the murders of tourists in rural Bolivia. After Slavin, it feels refreshing, like a palette-cleanser, a simple, straightforward, plot-driven piece without any unnecessary accoutrements. An unusual subject, a good story.
Kelly Link: 7. A long story that starts slow, gets better as it goes, and concludes with a dynamite ending. Link is an unknown quantity, capable of Very Good and Very Bad stories, with subjects as variable as the wind. In her story here, two aging movie stars meet on the set of a new ghost-hunting show and grope their way at nostalgia. What seems like a lost-youth elegy is heightened late in the game by a chilling supernatural aspect.
Ismet Prcic: 8. An entertaining, eventually rewarding Young Adult story about an immigrant worker in a movie theater who navigates the manipulations of his sociopathic boss. A funny story that reveals itself well through the characters’ shared Unstoppable Teenage Heartache.
Valeria Luiselli: 5. A tedious story about an aging mother awaiting a new suitor, from the perspective of her children. It plods along in an overlarded middle section but has a strong ending that justifies a lot of its dawdling.
Téa Obreht: 2. A man’s car breaks down in a very boring story about the most inessential World Factbook titbits and cardboard character study of immigrants in New York City.
John McManus: 8. Though it starts weakly, about a very socially maladroit boy who wills himself to faint to get out of uncomfortable situations, it gets better and better, as it follows the boy’s dissolution as he comes of age, living life in a drug haze in New Orleans. The rare story that can make an alcoholic druggie character interesting, and produce unique results.
Georgi Gospodinov: 7. Empty fun. Brief adventures with an inventive entrepreneur/con man, who eventually ends up traveling in time, maybe. The most enjoyable read of the book.
Etgar Keret: 7. Rich women compete to feel the most satisfaction from donating to panhandlers. It eventually leads to the creation of an app to do same, which may as well be real.
Paula Whyman: 2. The worst kind of science fiction: that which has no narrative, no forward momentum, no conflict, no suspense, but which just serves as a kind of expositional tabloid of the near future, with a laundry list of facts about various place names and famous figures. Self-indulgent in the most tedious way, and again, no story to speak of. 100% exposition.
Miriam Toews: 3. A novel excerpt, so it has that ironclad defense, and it needs it here, as this is just a bland piece of piecemeal. Some sisters on a trip to/from Mennonite communities, bickering in safe ways. Very bland. Very bland!
Dave Eggers: 6. Real-life account of a trip to Croatia to introduce the Croatian fiction section. Decent but a basic travelogue. Seeing as it’s an introduction, it doesn’t challenge itself to be much other than breezy and factual.
Gordan Nuhanović: 5. Nonfiction about a Crotian author trying to break into foreign markets. Seeing as most are shut off for various reasons, he attempts a goodwill tour in Moldova, which takes him deep down a muddy 4x4 road, through a raging river, and to a cottage in the hills, where his host, increasingly drunk, grows to despise him. It’d be good if it focused on the story instead of the intricacies of the publishing market. As such, it’s not a story, but a fun anecdote in the middle of dull facts about international literary markets.
Tea Tulić: 3. The old mother-dying-of-cancer montage story. Told in titled glimpses, impressions of a convalescence, a light fading in and out. This technique can work, but it sure doesn’t here, where it’s just boilerplate sadness without any narrative drive nor interesting characters to support the structure. It lacks the cohesion necessary to merge its motley parts.
Damir Karakaš: 8. Here we go! Though this story is beset by a one-dimensional villain, it’s still one of the strongest in the collection, due to its forward action and immediate finality, where big events and decisions happen quickly, casually, and in the middle of paragraphs, just like that. A down-at-heels Croatian living in Canada travels back to his family home and reunites with his blustery brother. This unearths old aggressions alongside new nostalgia. Strong.
Olja Savičević: 5. McSweeney’s obligatory middle-school story of the collection. An attractive cousin visits a more envious one, and the envious one takes her passive-aggressive, then aggressive-aggressive revenge, and ends up forcefeeding her cake.
Zoran Ferić: 8. A boy visits his dying mother in lieu of his overworked father. Along the way, he also makes a mystery payment to a mystery woman, creating a puzzle he eventually puts together. A great story of pathos, cowardice, obligation, defiance, and catharsis. Well-developed, honest, acute, and inevitable as a waterfall.
Bekim Sejranović: 6. Enjoyable writing style, but clearly these are the author’s personal journals collected into some episodes of alienation. A Croatian writer, teacher and translator (Sejranović’s occupation: Croatian writer, teacher and translator) moves back and forth to Norway to write, teach, translate (and fall in love). He takes a lot of drugs, and this is used to mask actual narrative. He waffles on life decisions, and remains hemmed in by a closing loop of solipsism.