- Tapa dura: 240 páginas
- Editor: Hachette Audio Pa (1 de febrero de 2003)
- Idioma: Inglés
- ISBN-10: 0786867388
- ISBN-13: 978-0786867387
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
Miss Corpus (Inglés) Tapa dura – feb 2003
Descripción del producto
Reseña del editor
Will has just returned home from sea to find his wife lying dead on the kitchen floor. Four states away, Phil has been waiting for his son to return home, only to discover his body decomposing at the bottom of a nearby swamp. Will's wife always wanted a highway-bound honeymoon. Phil's son always wanted to see the country. In an attempt to pick up the pieces of their lives, both Will and Phil load up their cars and hit the road--unknowingly traveling toward a collision--their destinies literally crashing together on I-95. From the moment their keys slip into the ignition, to the second their fenders clasp, every person with whom Will and Phil come in contact weaves a tapestry of narratives that gives a singular, vivid voice to the Deep South.
Biografía del autor
Clay McLeod Chapman is the author of the short story collection rest area. Creator of the "Pumpkin Pie Show," he has performed his writing throughout the United States and at Fringe Festivals around the world. Born in Richmond, Virginia, he now lives in Brooklyn, New York.
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With his first novel, he has added to the accomplished body of his previous work-literally. MISS CORPUS features the voice of some body indeed, the voice that bookends the novel, the voice of the South: "There's a pulse beneath your feet, radiating through the rest of this country," she says. "More bodies have been buried into me than anywhere else, weighing me down with the heft of humanity." Chapman traces the stories of two men who follow that pulse, and end up at the conclusion adding their bodies into that "heft."
Will comes home from the sea to find his wife dead on the floor. He lies down next to her, pulling a map she had been using over them, so that "North Carolina covered her chest, her chin pointing toward Winston-Salem."(The author attended the North Carolina School of the Arts.) Then, he starts south on the honeymoon that she was planning, taking her along-in plastic coolers. As he sails southward, he sprinkles her body parts along the way, until he could feel her "...sprouting out from the South already, the bits of her body taking root within the people I met on our honeymoon." Along his way, he casts light on the lives of other refugees from the "real" world-the turnpike attendant who gives birth in the tollbooth; the boy who tosses live animals into the paths of passing cars, making them pull into his dad's motel; and others like them. Onward he hurtles, into the embrace of his northbound mate, Philip.
Philip has held vigil for years, waiting for his asthmatic son to return home with his van full of friends. During the wait, his marriage sank deeper than the van where the cops found it, submerged just off the road in a swamp. Chapman goes about as long as he ever has without shocking us here, but he makes up for it when Philip opens the van after it is winched out of the swamp: "Kevin's head fell forward, the neck snapping, his skull dropping. It landed directly into the cup of my hands." Philip takes off with his son on that road trip they never took, following the pulse northward.
As the two men head toward each other, Chapman turns the narrative over to MISS CORPUS. With that switch, he creates a narrative device which transforms a tale of dismembered bodies and dysfunctional lives into a story about the birth of a book, about life. In his best sustained writing, Chapman takes us into the making of the book, "Getting to the heart of what I have to say-the words circulating through my body, cover to cover. You're raising me with your imagination. Your eyes are my lifeblood, every turn of the page another pulse perusing through my body." With the collision imminent, all the elements whirl around-the incident that sparked the book, characters "...staining the bedspread with patches of paragraphs," I-95 as an umbilical cord-until out pops a "bright-eyed, rosy-cheeked tome." As the two cars collide, the coming together becomes not an end, but a beginning-the point at which this story really started. Like a literary big bang, we are back where every moment MISS CORPUS was "destined to live" has been pinpointed for her, and now, for us. Chapman actually produces a moment of exhilaration as the two men lying by the road recognize their part in the production. They smile, knowing that the reader is giving MISS CORPUS life: "When you read me, I can feel my heart beating," she says. Although not a taste for every literary palate, MISS CORPUS will satisfy those with a hankering for the unusual. Those are the people who read this and say as she does: "Sounds like a good read to me."
Clay weaves these psychotic endeavors with a calm normality that is amazingly disturbing. This book explores abnormal subjects and social constructs that make you think: could this really happen? Are there people like this in the world? And I have to say yes. When a writer explores almost unspeakable actions and thought patterns in a real world, it is refreshing and eye-opening.
If you're looking for something different that makes you think and question your own psychological being, read "miss corpus."