George Anderson: Notes for a Love Song in Imperial Time - Softcover

Críticas

The rhetoric in the title of Peter Dimock s astonishing novella is just that: the study of the effective use of language, the art of prose, a discipline to inform and persuade . . . A remarkable novel has been almost secretly published, from which all of us might learn the virtues of invective s direct address.

Peter Dimock s A Short Rhetoric for Leaving the Family possesses the rich, intricate, and subtle patternings of the verbal lacemaker s craft. A remarkable debut. --Toni Morrison

The rhetoric in the title of Peter Dimock 's astonishing novella is just that: the study of the effective use of language, the art of prose, a discipline to inform and persuade . . . A remarkable novel has been almost secretly published, from which all of us might learn the virtues of invective 's direct address.

Peter Dimock 's A Short Rhetoric for Leaving the Family possesses the rich, intricate, and subtle patternings of the verbal lacemaker 's craft. A remarkable debut. --Toni Morrison

"The 'rhetoric' in the title of Peter Dimock's astonishing novella is just that: the study of the effective use of language, the art of prose, a discipline to inform and persuade . . . A remarkable novel has been almost secretly published, from which all of us might learn 'the virtues of invective's direct address.'"

"Peter Dimock's A Short Rhetoric for Leaving the Family possesses the rich, intricate, and subtle patternings of the verbal lacemaker's craft. A remarkable debut." --Toni Morrison

Peter Dimock... Possesses the rich, intricate, and subtle patternings of the verbal lacemaker's craft.--Toni Morrison

Peter Dimock... possesses the rich, intricate, and subtle patternings of the verbal lacemaker's craft.--Toni Morrison

Reseña del editor

Theo Fales is a one-time historian turned book editor who specializes in ghostwriting the memoirs of leading American policy-makers. For over twenty-five years, Theo has been helping retired generals and CIA directors justify their decisions in the first-person. One day, however, hearing a song at a colleague’s memorial service, Theo has a vision: he senses, in the music, a completely different way to live. He becomes obsessed by a need to align musical time with the metre of his own life and prose. Theo’s method opens onto two seemingly contradictory interior landscapes: one, a rage of identification with a college classmate who has written and signed the legal document justifying the use of torture by the US; the other, a love for the singer best known for her interpretations of the composer who wrote that vital song. Theo commits himself to the idea that only through his method will he be able to save himself. Is he mad, or has history itself lost its way?