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Osama (English Edition) de [Tidhar, Lavie]
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Osama (English Edition) Versión Kindle


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Longitud: 276 páginas Word Wise: Activado Tipografía mejorada: Activado
Volteo de página: Activado Idioma: Inglés

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Descripción del producto

Descripción del producto

Lavie Tidhar was in Dar-es-Salaam during the American embassy bombings in 1998, and stayed in the same hotel as the Al Qaeda operatives in Nairobi. Since then he and his now-wife have narrowly avoided both the 2005 King’s Cross and 2004 Sinai attacks—experiences that led first to his memorable short story “My Travels with Al-Qaeda” and later to the creation of Osama.

“In a world without global terrorism Joe, a private detective, is hired by a mysterious woman to find a man: the obscure author of pulp fiction novels featuring one Osama Bin Laden: Vigilante...”

Biografía del autor

Jeff Harding is originally from New England and has been narrating audiobooks in the UK for more than 30 years - with more than 600 titles to his credit.

Detalles del producto

  • Formato: Versión Kindle
  • Tamaño del archivo: 566 KB
  • Longitud de impresión: 276
  • Uso simultáneo de dispositivos: Sin límite
  • Editor: PS Publishing Ltd (21 de septiembre de 2011)
  • Vendido por: Amazon Media EU S.à r.l.
  • Idioma: Inglés
  • ASIN: B005OSXJO2
  • Texto a voz: Activado
  • X-Ray:
  • Word Wise: Activado
  • Tipografía mejorada: Activado
  • Valoración media de los clientes: Sé el primero en opinar sobre este producto
  • Clasificación en los más vendidos de Amazon: n.° 406.375 de Pago en Tienda Kindle (Ver el Top 100 de pago en Tienda Kindle)
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Opiniones de clientes más útiles en Amazon.com (beta)

Amazon.com: 3.8 de un máximo de 5 estrellas 15 opiniones
9 de 10 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Truly Haunting 10 de octubre de 2012
Por James Mowry - Publicado en Amazon.com
Formato: Versión Kindle
Tidhar, an Israeli writer, has written a beautiful and haunting book--but to try to describe it without revealing too much of its mysterious heart is quite a task. So let me start by saying it is extremely well-written and brilliantly evokes each of the places it takes place: Vientiane, Laos; Paris; New York; and finally, Kabul. Ostensibly, it is the story of a detective (in the Raymond Chandler mode) hired by a mysterious woman to track down a writer named Mike Longshott, who has written a series of books about Osama Bin Laden, Vigilante. It soon becomes clear, however, that in the detective's world, Osama Bin Laden, the events of 9/11, and a few significant chunks of history don't exist. But to pigeonhole this book as just an alternate history or science fiction would be missing the point. Osama isn't as neat and tidy as such fictions tend to be. Tidhar blends the real and the unreal together in such a way that truth and fiction blur into a marvelous new synthesis that tells us something about both. It succeeds, where other attempts such as China Mieville's THE CITY AND THE CITY largely fail, because of the depth of feeling at the book's center and because the detective is so well-drawn and interesting, even when stumbling blindly in search of his next clue. OSAMA achieves the near-impossible--serious escapist fiction, or maybe vice-versa? Just read it.
3 de 3 personas piensan que la opinión es útil
4.0 de un máximo de 5 estrellas A noirish mind trip 3 de enero de 2013
Por Ryan - Publicado en Amazon.com
Formato: Tapa dura
Meet Joe, an archetypal low-rent private detective living in Southeast Asia. Except, in Joe's world, 9-11 and other terrorist attacks never took place. Instead, they're just plot elements in a semi-popular series of pulp novels called "Osama bin Laden, Vigilante", which even has a yearly fan convention devoted to it.

This matters to Joe because a mysterious woman appears at his office and hires him to track down the author of those same novels. Soon, as he travels the world, he finds himself running into people who don't quite seem to belong. Then he meets people who don't want him investigating further. And then things start to get odd. Philip K. Dick comparisons seem apt, though I was also reminded of China Mieville's City and the City and the mind-bending story in the computer game Braid.

This is, without question, a novel whose meaning hides in its obliqueness and blurring of reality. Who is Joe, exactly? Who are the ghostlike "refugees"? What is the connection between his world and ours? Tidhar offers hints, but no certain answers. I thought it was a stroke of brilliance that Osama bin Laden himself becomes an anti-presence in the story. Made imaginary in Joe's world, he becomes more visible as what he really is in ours: a omnipresent icon that haunts without having any real definition or connection to what the actual bin Laden was. The symbolism is open to interpretation, but, to me, it expressed the ultimate elusiveness of either escape or understanding in the endless feedback of the human response to terrorism.

Of course, open-ended, strange-loopy novels aren't the sort of thing that speaks to every reader (at least, not without chemical enhancement), but this one hit most of the right notes with me. I liked the audacity of Tidhar's vision and the tight, noir-ish, slightly hallucinatory writing. And it's not a long book.
4 de 5 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Winner of the 2012 World Fantasy Award for Best Novel 5 de noviembre de 2012
Por Amazon Customer - Publicado en Amazon.com
Formato: Tapa dura
In Osama, Lavie Tidhar has created the ultimate in escapist fiction, a world where Osama Bin Laden is only a character in a book, where the acts of destruction and terror he was responsible for are only parts of a fictional canon. Indeed, the acts are outlandish and nearly inconceivable in the world Tidhar renders, comprehendible only as over the top pulp fiction.

Osama begins like many detective novels, as a client seeks out a detective to locate someone. Not just anyone, mind you, but the famous writer Mike Longshott, author of the popular Osama Bin-Laden: Vigilante series, which includes the novels Sinai Bombings, Assignment: Africa, and World Trade Centre. Longshott is a reclusive celebrity, the beneficiary of cultish adoration, on the level of a J. K. Rowling or a Stephanie Meyer.

The detective who takes the case is just a guy named Joe; his investigations take him from Vientiane, Laos, to Paris, to America, and eventually to Afghanistan. Along the way, Joe meets a number of stock characters--dangerous thugs, broken women, fat men, recalcitrant bartenders, and the like--and lives through a number of stock situations, such as shaking tails, breathless chases, and taking beatings from the opposition. Along the way, he encounters the facades that have been erected to insulate the man he's been asked to find, and the facades that perhaps conceal the entryways to another reality entirely, one where the outlandish events depicted in the Longshott books are the stuff of everyday headlines.

In creating a reality where the only landscape the war on terror occupies is fictional, Tidhar has created an effective, but less painful way, for his readers to look at, and try to comprehend, the enormous effect terrorism has had on their lives, and more importantly, their psyches. Indeed, Osama, shortly before he was killed, had become a boogeyman on the level of Freddy Krueger or Jason Voorhees, the only difference being that he had actually committed horrifc acts. Making him fictional, and interspersing excerpts of his exploits as breaks in the noirish mystery story being told, allows readers to approach the subject at an angle, and to think about their impact with the benefit of a little distance. By positing a world where Osama is only a fictional demon, Tidhar not only allows us to escape from our awful reality for a moment, but also to take a step back and consider just what we've lost over the past decade, in terms of comfort, blood, and the erosion of freedoms we once took for granted.
5 de 6 personas piensan que la opinión es útil
5.0 de un máximo de 5 estrellas Uncategorisable & brilliant 25 de junio de 2013
Por Jared - Publicado en Amazon.com
Formato: Tapa blanda
With Osama, Lavie Tidhar isn't writing about the moments of horror that make up the connect-the-dots of modern terrorism. He's writing about their reflections.

And noir, with its long history of engaging with questions of violence and culpability, seems an obvious way to try to access, and personalize, a story about terrorism. So it makes sense that Osama is a noir. And not just some run-of-the-mill the-author-just-watched-The-Maltese-Falcon rip-off, either, although Tidhar hits all the right beats: the staccato dialogue, the curling smoke, the steaming coffee, the chases through the chiaroscuro of grimy city streets.

Joe's a consummate everyman, an anonymous PI out of place and happy to be there. Set in a world without terrorism, Osama begins as all good hardboiled novels begin: a beautiful woman walks into Joe's office and offers him a job - find Mike Longshott, the apparently pseudonymous author of the wildly popular, critically derided Osama: Vigilante series of pulp novels. All expenses paid, of course. The chase leads Joe from one end of the world to the other; in his wake he trails confusion and violence, while each clue leads him to question not only his employment, but his own life.

But Osama isn't a straight-up hardboiled novel. It's a noir. And the best noir isn't about the mystery, or the atmosphere - although they're both important components of the whole. At base, noir is about character; that is, a character. A single person, in search of something. Noir requires a complex point-of-view character, someone who's both wholly certain of himself and entirely lost. An shadowy person, in a series of shadowy settings, searching not just for answers to some mystery-for-hire, but for himself. Noir protagonists are not standard hard-boiled detective characters, a la Sam Spade; they're intimately involved in whatever event has set the plot rolling - not as detectives, but as victims or perpetrators. Or both.

If Dashiell Hammett's modern twist to the mystery novel was to "dispose of his victims before the story commences," then Tidhar takes it a step further. His victims are fictional twice over, disposed of not only before the story commences but in stories within that story. Tidhar excerpts the terrorist attacks from Mike Longshott's Osama novels to punctuate Joe's search for Longshott. Except, Tidhar's readers recognize their own reality in those excerpts, those powerful, chillingly accurate depictions of the terrorist attacks on places like London and New York. Joe's search for the pseudonymous Longshott becomes a search for the fictional Osama - but the more Joe engages with his quest to find Longshott, the more the barrier between the fictional and the real begins to dissolve.

These excerpts provide a kind of commentary on the scale and apparent meaninglessness of those deaths - the exploitative nature of pulp writing, where death is presented as entertainment, weighed against the scale and apparent meaninglessness of those same deaths, in our reality. There's death in-between the two, as well; Joe's own reality is likewise punctuated with awful violence - a dead kitten, a murdered contact. The scale is different, but the violence is still apparently without meaning. Except, of course, it's not: this is fiction within fiction: the fictional-fictional world of the Osama novels and Joe's own fictional world (and, unfortunately, our own world, in which we recognize the fictional gloss over very real events).

In every case, death comes at the hands of someone who sincerely believed he was doing the right thing. Terrorism in Joe's world is entertainment, though we find it an awful, painful reminder of our own grim reality. But we're reading Osama for entertainment, ourselves, and the deaths that Joe experiences are there to increase our reading pleasure - to give his character depth, to progress the plot, to contribute thematic heft to the narrative. Tidhar confronts his readers, again and again, with their own engagement with violence, forcing us to question what we read, and why we read it.

[This review first appeared as part of The Kitschies]
4 de 5 personas piensan que la opinión es útil
2.0 de un máximo de 5 estrellas Hallucinatory and Half-Baked 24 de abril de 2013
Por nullpointer - Publicado en Amazon.com
Formato: Tapa blanda
I tried extremely hard to like this book. I was immediately sold on it the moment I saw it due to the Philip K Dick comparisons, the theme, the artwork, etc. I began my reading at a fast and steady pace, but not long after I started, the book began to become a mire of sorts, and my reading slowed down, and I eventually quit. Several months later, I picked it back up, determined to finish it, everything in my head, on the internet, and on the front and back covers of the book was telling me that I would love this book, but ultimately it became a very painful and un-enjoyable reading experience. Having read and enjoyed a variety of surreal, hallucinatory, or just avant-garde literature, I expected that those elements of Osama would be enjoyable. However, I found Osama to be poorly executed, lacking in effort, and full of a constant, lazy, and clunky surreal atmosphere. Osama suffers most from Tidhar's lack of skill in writing a novel that is so constantly "fuzzy". Creating a novel-length work that is constantly hazy and spectral is hard enough, keeping it compelling and making sure it doesnt become clumsy and boring is even harder. It takes a certain skill to execute a book like this, and which Tidhar unfortunately lacks. The concepts and ideas that Tidhar envisioned for Osama are full of potential and in theory would make for great story telling, and I hope another author tackles something similar to Osama soon. I am still craving a sci-fi-tinged look at our paranoid post 9/11 world where terrorism pervades.
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