Coming off the breakthrough success of Sex, Drugs, and Cocoa Puffs and Killing Yourself to Live, bestselling pop culture guru Chuck Klosterman assembles his best work previously unavailable in book form—including the ground-breaking 1996 piece about his chicken McNuggets experiment, his uncensored profile of Britney Spears, and a previously unpublished short story—all recontextualized in Chuck’s unique voice with new intros, outros, segues, and masterful footnotes.
Chuck Klosterman IV consists of three parts:
Things That Are True—Profiles and trend stories: Britney Spears, Radiohead, Billy Joel, Metallica, Val Kilmer, Bono, Wilco, the White Stripes, Steve Nash, Morrissey, Robert Plant—all with new introductions and footnotes.
Things That Might Be True—Opinions and theories on everything from monogamy to pirates to robots to super people to guilt, and (of course) Advancement—all with new hypothetical questions and footnotes.
Something That Isn’t True At All—This is old fiction. There’s a new introduction, but no footnotes. Well, there’s a footnote in the introduction, but none in the story.
Die Inhaltsangabe kann sich auf eine andere Ausgabe dieses Titels beziehen.
Chuck Klosterman is the New York Times bestselling author of seven previous books, including Sex, Drugs, and Cocoa Puffs; Eating the Dinosaur; Killing Yourself to Live; and The Visible Man. His debut book, Fargo Rock City, was the winner of the ASCAP-Deems Taylor Award. He has written for GQ, Esquire, Spin, The Washington Post, The Guardian, The Believer, and The Onion A.V. Club. He currently serves as “The Ethicist” for the New York Times Magazine and writes about sports and popular culture for ESPN.From AudioFile:
The author reads various articles he's written for "smart" publications that amusingly record his observations of cultural ephemera. A specialist in inconsequence, he writes glibly about the passing scene in clever phrases. This volume includes profiles of celebrities, opinion pieces, and a smattering of short fiction. His vocal skill is less felicitous than his writing. On the positive side, he adopts a light, chatty tone and a brisk pace that nicely complement his text. He does have some flair as a raconteur. But his scratchy voice grates on this reviewer's nerves, as does his sloppy diction and air of in-crowd smugness. Perhaps a younger trend-conscious listener will have more appreciation for Klosterman's virtues and less impatience with his faults. Y.R. © AudioFile 2006, Portland, Maine-- Copyright © AudioFile, Portland, Maine
„Über diesen Titel“ kann sich auf eine andere Ausgabe dieses Titels beziehen.