Articles liés à The Amalgamation Polka
L'édition de cet ISBN n'est malheureusement plus disponible.
Afficher les exemplaires de cette édition ISBN
Book by Wright Stephen
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Extrait :
The bearded ladies were dancing in the mud. Outsized country feet that just wouldn’t keep still, strutting and reeling all along that slippery stretch of flooded road. Yellow paste clung to the hems of their gowns, flecked sunburnt arms and whiskery cheeks, collected in thick earthen coins upon the lacy ruffles of their modest chests like a hero’s worth of medals artlessly arranged. A cold rain fell and continued to fall over the lost hills, the yet smoking fields, the rude, misshapen trees where light—vague and uncertain—struggled to furnish the day with the grainy quality of a fogged daguerreotype. And at the center of this dripping stillness these loud animated women without origin or explanation, refugees from a traveling circus perhaps, abandoned out of forgetfulness or deceit or simple spite, the improvised conclusion to some sorry affair of outrage and betrayal, and as they danced, they sang and reveled in the rain, porcelain pitchers of ripe applejack passing freely from hand to unwashed hand, the echo of their song sounding harshly across that desolate country:
Soupy, soupy, soupy, without any bean
Porky, porky, porky, without any lean
Coffee, coffee, coffee, without any cream
On a rise back of the road stood a tall white frame house with long white curtains flung twisted and sodden from the open windows. A solitary blackbird perched atop the brick chimney, its beaded prismatic head jerking mechanically about. Several emaciated hogs rooted with audible vigor among the stumps of broken furniture, the puddles of bright clothing littering the trampled yard. From out the shadowed doorway flew an enameled jewelry box, bouncing once, twice, and off into the weeds. Followed quickly by an English plate, a soiled pair of ripped pantaloons, a clanging case clock, an oval looking glass that vanished upon an upended table leg in a burst of twinkling confetti—the house methodically emptying itself out. A pregnant sow shifted its spotted flanks, then resumed gnawing at the gilded frame of a painting in the grand style of Washington and Cornwallis at Yorktown. A bearded lady appeared at the door bearing before her a magnificent rosewood chair, the ruby red brocade of its seat and arms mounting up in lurid flame. The hurled chair landed upright in the mud where it continued to burn, to reduce itself to skeletal blackness, to pure idea. The bearded lady watched, haloed in the fires now leaping madly behind her. Curds of gray smoke were crowding out from under the cedar shakes. The house began to make a great whooshing sound. Flakes of wet ash blew down out of an opal sky.
The figure was already running when the bearded ladies glimpsed it, rushing slantwise down the clay slope as if materialized in mid-stride out of some adjacent realm of unendurable horror and perpetual flight.
“It’s a nigger!” cried one of the ladies.
She was young and barefoot and clothed in woolen rags. The clear terror in her touched even them standing there astounded for once in their ruined fashions and waterlogged boots. They watched agape this sudden apparition go bounding up the road like a wild hare and as the size of her steadily diminished in the misting distance an unaccountable rage grew large among them. Without word or gesture they moved off as one in raucous pursuit. It was a remarkable sight. Splashing and howling, jostling for position like whipped racing ponies, all bobbing beards and bonnets, stumbling on petticoats, sliding belly down into the mire, they presented a spectacle of hermaphroditic frenzy such as few could imagine. In a moment they were strung out wheezing in the muck. All but one. Audacious in a poke bonnet and bombazine dress, she rapidly outdistanced the rest, she hounded her quarry, she ran like a mother possessed, in a fit of chastisement, hard on the heels of an impudent daughter. Over the near hill and down, up the far hill and gone.
When at last the others found them, they were fallen and half-buried in the melting loam of an eroded embankment, their partially clad bodies so slathered with mud as to be almost unrecognizable, ill-formed creatures who had failed some evolutionary test. The bearded lady was settled in between the girl’s thin bare shanks and well into her work, the bonnet wadded fiercely into the girl’s bleed- ing mouth, a crude brand of the letter D gleaming on the lady’s exposed cheek. The girl’s eyes were closed. She might have been unconscious. The stragglers stood about in an uneasy huddle, turning to study now and again the dreary emptiness of the road, the earth, the sky, waiting like patient cattle in the rain, the tattered remnants of contemporary finery hiked to their armpits, buttons undone on the filthy breeches beneath, waiting politely in turn, their pink manhood carelessly exposed. Someone belched; another laughed. Soon the last of the pale light would draw off into the pine hills, shielding from hostile eyes the occupations of these costumed shapes in a starless obscurity, in the cloaked freedom of the night.
There was a gorilla in the White House and a long-tailed mulatto presiding over the Senate chamber and the dreams of the Republic were dark and troubling.
He was born in the fall of the time at the end of time. The signs were plain for all with an eye to read: the noonday passage the previous spring of a great comet—“the marvel of the age!”—the swift echelons of croaking blackbirds flocking north for the winter, the collapse of the revival tent up in Rochester where, miraculously, not a single soul was harmed. Cows walked backward through the meadows; well water turned overnight into vinegar. Surely the advent of eternity was at hand. The vine was about to be reaped.
At dusk on the evening of October 22, 1844 (the date deter- mined by the divine computations of an ex-sheriff and self-taught biblical scholar), the ascension-robed faithful gathered anxiously in churches and meetinghouses, along rooftops, the branches of trees and out upon high desolate hillsides—the nearer to glory—hymns and prayers keeping them through the final chill hours of that long last day until, instead of the Bridegroom, there appeared in the eastern sky the tentative kindling of just another dawn, proof that, for now, time would have no end, the body no release, and outside Delphi, New York, the disappointed crowd, waistcoat watches ticking steadfastly on, descended the knoll out of Briarwood Cemetery past the leafless, unscorched elms, the cold, unharrowed graves and into the welcoming arms of no company of saints but a taunting, unredeemed mob from town brandishing brickbats and stones.
So the trials of America were not to be so speedily concluded. Hours more must be drowned in sin, the sun darkened to a seal of pitch, before God would deliver this errant nation from the wickedness of history.
Nine days later Liberty Fish was born.
His mother, Roxana, did not expect to survive the occasion, the birthing chair having served all too often as a makeshift gallows for women of the family, carrying off Grammy Bibb, several faceless cousins, a favorite aunt with dimples deep enough for planting and her eldest sister, Aurore, the blonde darling of Stono County, who stoically kneaded at her bedclothes for three frightful days before producing a male nonesuch that Father hastily wrapped in red flannel and buried in an unmarked hole behind the smokehouse on the morning she died, crying out at the end in a mystic guttural tongue none understood or recognized. Passage to that Good Land seemed to be neither fair nor fleet. The moment Roxana realized she was growing a baby she understood immediately what she must do: prepare herself like a warrior on the eve of battle. She had read The Iliad in the original Greek at the age of sixteen; she knew what was required.
The annunciatory instant, as clear to her now as present vision, occurred as she stood defiantly in the pulpit of the Pleasance Street Methodist Church in Utica, struggling to lift her modest voice above the clanging, the braying, the whistling, the clapping of the protest- ing horde outside. She had just finished reciting the Declaration of Independence—amazing the ardor those few simple words could still arouse almost seventy years later—when a boyish, moon-faced man in a rusty black coat climbed atop a pew and, shouting above the clamor of fists drumming angrily upon the walls, inquired of Roxana whether he could approach and feel her chin for evidence of a beard. A dozen men rose in outraged objection, and as Roxana waited patiently for the commotion to subside—a small, still figure at the eye of her nation’s storm—she felt an unmistakable flutter of ghostly deli-cacy, a kind of spiritual hiccough, pass hastily through her frame, and at once she knew: a skull had begun to swell between her hips.
“Nonsense,” declared her sister-in-law, Aroline. “No one’s departing this household just yet, as long as I have any say in the matter.”
“But I want this child,” Roxana said in her soft drawl that always struck Aroline’s northern ears as the sound a cloud might make if it could talk.
“And so you shall, my dear, and many more besides.”
The thought depleted Roxana. Did she truly want even this one? She fell into a prolonged and uncharacteristic period of distraction. Days came and went, but she was no longer a passenger. The most trivial tasks eluded her. The careless placement of a spoon or cup on the kitchen table, a particular patch of sunstruck wallpaper, acquired a mesmeric fascination. She could lose herself for hours (and go she knew not where) in the view from her bedroom window, the barren hills lying motionless in the bleak February light like a corpse spraw...
Revue de presse :
Soupy, soupy, soupy, without any bean
Porky, porky, porky, without any lean
Coffee, coffee, coffee, without any cream
On a rise back of the road stood a tall white frame house with long white curtains flung twisted and sodden from the open windows. A solitary blackbird perched atop the brick chimney, its beaded prismatic head jerking mechanically about. Several emaciated hogs rooted with audible vigor among the stumps of broken furniture, the puddles of bright clothing littering the trampled yard. From out the shadowed doorway flew an enameled jewelry box, bouncing once, twice, and off into the weeds. Followed quickly by an English plate, a soiled pair of ripped pantaloons, a clanging case clock, an oval looking glass that vanished upon an upended table leg in a burst of twinkling confetti—the house methodically emptying itself out. A pregnant sow shifted its spotted flanks, then resumed gnawing at the gilded frame of a painting in the grand style of Washington and Cornwallis at Yorktown. A bearded lady appeared at the door bearing before her a magnificent rosewood chair, the ruby red brocade of its seat and arms mounting up in lurid flame. The hurled chair landed upright in the mud where it continued to burn, to reduce itself to skeletal blackness, to pure idea. The bearded lady watched, haloed in the fires now leaping madly behind her. Curds of gray smoke were crowding out from under the cedar shakes. The house began to make a great whooshing sound. Flakes of wet ash blew down out of an opal sky.
The figure was already running when the bearded ladies glimpsed it, rushing slantwise down the clay slope as if materialized in mid-stride out of some adjacent realm of unendurable horror and perpetual flight.
“It’s a nigger!” cried one of the ladies.
She was young and barefoot and clothed in woolen rags. The clear terror in her touched even them standing there astounded for once in their ruined fashions and waterlogged boots. They watched agape this sudden apparition go bounding up the road like a wild hare and as the size of her steadily diminished in the misting distance an unaccountable rage grew large among them. Without word or gesture they moved off as one in raucous pursuit. It was a remarkable sight. Splashing and howling, jostling for position like whipped racing ponies, all bobbing beards and bonnets, stumbling on petticoats, sliding belly down into the mire, they presented a spectacle of hermaphroditic frenzy such as few could imagine. In a moment they were strung out wheezing in the muck. All but one. Audacious in a poke bonnet and bombazine dress, she rapidly outdistanced the rest, she hounded her quarry, she ran like a mother possessed, in a fit of chastisement, hard on the heels of an impudent daughter. Over the near hill and down, up the far hill and gone.
When at last the others found them, they were fallen and half-buried in the melting loam of an eroded embankment, their partially clad bodies so slathered with mud as to be almost unrecognizable, ill-formed creatures who had failed some evolutionary test. The bearded lady was settled in between the girl’s thin bare shanks and well into her work, the bonnet wadded fiercely into the girl’s bleed- ing mouth, a crude brand of the letter D gleaming on the lady’s exposed cheek. The girl’s eyes were closed. She might have been unconscious. The stragglers stood about in an uneasy huddle, turning to study now and again the dreary emptiness of the road, the earth, the sky, waiting like patient cattle in the rain, the tattered remnants of contemporary finery hiked to their armpits, buttons undone on the filthy breeches beneath, waiting politely in turn, their pink manhood carelessly exposed. Someone belched; another laughed. Soon the last of the pale light would draw off into the pine hills, shielding from hostile eyes the occupations of these costumed shapes in a starless obscurity, in the cloaked freedom of the night.
There was a gorilla in the White House and a long-tailed mulatto presiding over the Senate chamber and the dreams of the Republic were dark and troubling.
He was born in the fall of the time at the end of time. The signs were plain for all with an eye to read: the noonday passage the previous spring of a great comet—“the marvel of the age!”—the swift echelons of croaking blackbirds flocking north for the winter, the collapse of the revival tent up in Rochester where, miraculously, not a single soul was harmed. Cows walked backward through the meadows; well water turned overnight into vinegar. Surely the advent of eternity was at hand. The vine was about to be reaped.
At dusk on the evening of October 22, 1844 (the date deter- mined by the divine computations of an ex-sheriff and self-taught biblical scholar), the ascension-robed faithful gathered anxiously in churches and meetinghouses, along rooftops, the branches of trees and out upon high desolate hillsides—the nearer to glory—hymns and prayers keeping them through the final chill hours of that long last day until, instead of the Bridegroom, there appeared in the eastern sky the tentative kindling of just another dawn, proof that, for now, time would have no end, the body no release, and outside Delphi, New York, the disappointed crowd, waistcoat watches ticking steadfastly on, descended the knoll out of Briarwood Cemetery past the leafless, unscorched elms, the cold, unharrowed graves and into the welcoming arms of no company of saints but a taunting, unredeemed mob from town brandishing brickbats and stones.
So the trials of America were not to be so speedily concluded. Hours more must be drowned in sin, the sun darkened to a seal of pitch, before God would deliver this errant nation from the wickedness of history.
Nine days later Liberty Fish was born.
His mother, Roxana, did not expect to survive the occasion, the birthing chair having served all too often as a makeshift gallows for women of the family, carrying off Grammy Bibb, several faceless cousins, a favorite aunt with dimples deep enough for planting and her eldest sister, Aurore, the blonde darling of Stono County, who stoically kneaded at her bedclothes for three frightful days before producing a male nonesuch that Father hastily wrapped in red flannel and buried in an unmarked hole behind the smokehouse on the morning she died, crying out at the end in a mystic guttural tongue none understood or recognized. Passage to that Good Land seemed to be neither fair nor fleet. The moment Roxana realized she was growing a baby she understood immediately what she must do: prepare herself like a warrior on the eve of battle. She had read The Iliad in the original Greek at the age of sixteen; she knew what was required.
The annunciatory instant, as clear to her now as present vision, occurred as she stood defiantly in the pulpit of the Pleasance Street Methodist Church in Utica, struggling to lift her modest voice above the clanging, the braying, the whistling, the clapping of the protest- ing horde outside. She had just finished reciting the Declaration of Independence—amazing the ardor those few simple words could still arouse almost seventy years later—when a boyish, moon-faced man in a rusty black coat climbed atop a pew and, shouting above the clamor of fists drumming angrily upon the walls, inquired of Roxana whether he could approach and feel her chin for evidence of a beard. A dozen men rose in outraged objection, and as Roxana waited patiently for the commotion to subside—a small, still figure at the eye of her nation’s storm—she felt an unmistakable flutter of ghostly deli-cacy, a kind of spiritual hiccough, pass hastily through her frame, and at once she knew: a skull had begun to swell between her hips.
“Nonsense,” declared her sister-in-law, Aroline. “No one’s departing this household just yet, as long as I have any say in the matter.”
“But I want this child,” Roxana said in her soft drawl that always struck Aroline’s northern ears as the sound a cloud might make if it could talk.
“And so you shall, my dear, and many more besides.”
The thought depleted Roxana. Did she truly want even this one? She fell into a prolonged and uncharacteristic period of distraction. Days came and went, but she was no longer a passenger. The most trivial tasks eluded her. The careless placement of a spoon or cup on the kitchen table, a particular patch of sunstruck wallpaper, acquired a mesmeric fascination. She could lose herself for hours (and go she knew not where) in the view from her bedroom window, the barren hills lying motionless in the bleak February light like a corpse spraw...
"It is precisely Wright's ability to capture the raw beauty and immediacy of an earlier America while reflecting on its moral contradictions the makes The Amalgamation Polka such a great pleasure to read. [He is] a master who deserves a wide audience."
--John Hammond, San Antonio Express-News
"Endlessly beguiling [by] an extravagantly talented novelist. . . It offers something rare in historical novels . . . the vertiginous sensation of a tilt forward into the unknown. This, after all, is what history feels like to the people who live through it, the ones with no idea what will happen next and an uncertain grasp on who the good guys will turn out to be. It feels like the world as you know it, dissolving and re-forming into an unimaginable and unnavigable new configuration. It feels like now . . . For Wright, America, past and present, is Wonderland, a place of marvels and horrors from which not even the fortunate escape with their heads. " --Laura Miller, front page, New York Times Book Review
"Yes, yes, there is a civil war, and there's a president to be assassinated. But that's not why you'll read on. It's the world itself, imagined and recognizable as never before, that will make you turn the page. The writing is so good that you forget you're reading about the past; you lean forward to see what remarkable turn will come next, what rich details will arise in a world that is grotesque, flame lit, driven by money and possession. The language is so generously arcane and richly evocative that it begins to feel, well, as if it might just be the future." --Tom Chiarella, Esquire
“This dark and lyrical tale of madness and prophecy speaks uncannily from within its period, in the tradition of heartbroken humor which America’s lapses of faith in its own promise have always evoked in the finest of our storytellers, among whom Stephen Wright here honorably takes his place.” —Thomas Pynchon
"An omnivorous approach to the period [of] Bible-thumping abolitionists, fire-breathing secessionists, the Underground Railroad and a bitterly unamalgamated America reunited only after the deaths of 600,000 soldiers, North and South . . . There are shades of Hawthorne, Irving and Melville, little tonal shifts from chapter to chapter; [and in the] battle scenes, we feel as if we've stumbled across the infernal manuscripts of a long-lost literary talent, as if the scary ellipses of The Red Badge of Courage were being filled in by a chronicler as ravenous for bodily data as Whitman." --Mark Rozzo, Los Angeles Times Book Review
"Existentially astonishing . . . Quite simply an astonishing novel, brilliantly executed and beautifully written. Stephen Wright deserves to be famous and feted for it." --Diane Roberts, The Atlanta Journal-Constitution
"Summoning virtually every shade in the American canon (Melville to Cormac McCarthy, Twain to Pynchon) yet possessed of a rollicking, morbid tone all its own, Stephen Wright's The Amalgamation Polka does for the Civil War era what the author's previous books did for the late 20th century . . . Wright's acute attention to the shapes and sounds of words--and the resultant renewal of the familiar stuff of history--will bring a smile to your own lips as it sets your brain on fire." --Jason McBride, Village Voice
"A grand and bizarre epic of the Civil War era [that] works brilliantly because Wright appears to have created this story not as a 21st-century author commenting on 19th-century values, but as someone living through, and struggling against, this moment in history. This view from deep inside . . . bestows profound rewards." --Carol Iaciofano, The Boston Globe
"A work of high imagination, and we have never seen the time or its people portrayed quite like this." --Art Winslow, Chicago Tribune
"A soaring work by an extremely talented writer rapidly establishing himself as one of the major talents of our time . . . [Wright] has taken a time we think we know and given it a sharp new edge. Boiling with anger and calm, cruelty and compassion, horror and laugh-out-loud humor, The Amalgamation Polka perfectly captures not only the human experience but also what it means to be an American . . . A believable celebration of the rich stew of humanity." --Geoff Campbell, Fort Worth Star-Telegram
"Ambitious [and] entertaining . . . a wonder to behold." --John Wray, Washington Post Book World
"Captivating." --People
"[The Amalgamation Polka] has all the elements of enduring art: a high purpose, a masterful use of language, engrossing conflict, catharsis [and] also does what we ask all great literature to do: It inspires us to a loftier destiny." --Thornton Sully, San Diego Union-Tribune
"Stephen Wright [is] the most important American novelist you've probably never heard of [and] The Amalgamation Polka might be the book that, deservedly, makes his as familiar a name as Don DeLillo or Thomas Pynchon." --Roger Gatham, Austin American-Statesman
"Deliriously original . . . An amazing, alchemical blend of dead seriousness and giddy high spirits." --Donna Rifkind, Baltimore Sun
"Stunning in its power . . . The Amalgamation Polka is a daring, challenging work. It dances, with considerable vigor, to a grimly jaunty beat distinctly its own [and] can be harrowing or sublime, sternly sobering or pleasurably outlandish . . . You just want to keep reading." --Michael Upchurch, The Seattle Times
"Consistently brilliant. If you're eager to read an entire novel in a state of baffled amazement, this should do it for you." --Adam Begley, The New York Observer
"If you begin The Amalgamation Polka be prepared for a lot of re-reading, due to the vibrant beauty and savory brilliance of every paragraph. This kind of writing is matched by maybe three or four living American novelists, and not very many dead ones." —Michael Herr
--John Hammond, San Antonio Express-News
"Endlessly beguiling [by] an extravagantly talented novelist. . . It offers something rare in historical novels . . . the vertiginous sensation of a tilt forward into the unknown. This, after all, is what history feels like to the people who live through it, the ones with no idea what will happen next and an uncertain grasp on who the good guys will turn out to be. It feels like the world as you know it, dissolving and re-forming into an unimaginable and unnavigable new configuration. It feels like now . . . For Wright, America, past and present, is Wonderland, a place of marvels and horrors from which not even the fortunate escape with their heads. " --Laura Miller, front page, New York Times Book Review
"Yes, yes, there is a civil war, and there's a president to be assassinated. But that's not why you'll read on. It's the world itself, imagined and recognizable as never before, that will make you turn the page. The writing is so good that you forget you're reading about the past; you lean forward to see what remarkable turn will come next, what rich details will arise in a world that is grotesque, flame lit, driven by money and possession. The language is so generously arcane and richly evocative that it begins to feel, well, as if it might just be the future." --Tom Chiarella, Esquire
“This dark and lyrical tale of madness and prophecy speaks uncannily from within its period, in the tradition of heartbroken humor which America’s lapses of faith in its own promise have always evoked in the finest of our storytellers, among whom Stephen Wright here honorably takes his place.” —Thomas Pynchon
"An omnivorous approach to the period [of] Bible-thumping abolitionists, fire-breathing secessionists, the Underground Railroad and a bitterly unamalgamated America reunited only after the deaths of 600,000 soldiers, North and South . . . There are shades of Hawthorne, Irving and Melville, little tonal shifts from chapter to chapter; [and in the] battle scenes, we feel as if we've stumbled across the infernal manuscripts of a long-lost literary talent, as if the scary ellipses of The Red Badge of Courage were being filled in by a chronicler as ravenous for bodily data as Whitman." --Mark Rozzo, Los Angeles Times Book Review
"Existentially astonishing . . . Quite simply an astonishing novel, brilliantly executed and beautifully written. Stephen Wright deserves to be famous and feted for it." --Diane Roberts, The Atlanta Journal-Constitution
"Summoning virtually every shade in the American canon (Melville to Cormac McCarthy, Twain to Pynchon) yet possessed of a rollicking, morbid tone all its own, Stephen Wright's The Amalgamation Polka does for the Civil War era what the author's previous books did for the late 20th century . . . Wright's acute attention to the shapes and sounds of words--and the resultant renewal of the familiar stuff of history--will bring a smile to your own lips as it sets your brain on fire." --Jason McBride, Village Voice
"A grand and bizarre epic of the Civil War era [that] works brilliantly because Wright appears to have created this story not as a 21st-century author commenting on 19th-century values, but as someone living through, and struggling against, this moment in history. This view from deep inside . . . bestows profound rewards." --Carol Iaciofano, The Boston Globe
"A work of high imagination, and we have never seen the time or its people portrayed quite like this." --Art Winslow, Chicago Tribune
"A soaring work by an extremely talented writer rapidly establishing himself as one of the major talents of our time . . . [Wright] has taken a time we think we know and given it a sharp new edge. Boiling with anger and calm, cruelty and compassion, horror and laugh-out-loud humor, The Amalgamation Polka perfectly captures not only the human experience but also what it means to be an American . . . A believable celebration of the rich stew of humanity." --Geoff Campbell, Fort Worth Star-Telegram
"Ambitious [and] entertaining . . . a wonder to behold." --John Wray, Washington Post Book World
"Captivating." --People
"[The Amalgamation Polka] has all the elements of enduring art: a high purpose, a masterful use of language, engrossing conflict, catharsis [and] also does what we ask all great literature to do: It inspires us to a loftier destiny." --Thornton Sully, San Diego Union-Tribune
"Stephen Wright [is] the most important American novelist you've probably never heard of [and] The Amalgamation Polka might be the book that, deservedly, makes his as familiar a name as Don DeLillo or Thomas Pynchon." --Roger Gatham, Austin American-Statesman
"Deliriously original . . . An amazing, alchemical blend of dead seriousness and giddy high spirits." --Donna Rifkind, Baltimore Sun
"Stunning in its power . . . The Amalgamation Polka is a daring, challenging work. It dances, with considerable vigor, to a grimly jaunty beat distinctly its own [and] can be harrowing or sublime, sternly sobering or pleasurably outlandish . . . You just want to keep reading." --Michael Upchurch, The Seattle Times
"Consistently brilliant. If you're eager to read an entire novel in a state of baffled amazement, this should do it for you." --Adam Begley, The New York Observer
"If you begin The Amalgamation Polka be prepared for a lot of re-reading, due to the vibrant beauty and savory brilliance of every paragraph. This kind of writing is matched by maybe three or four living American novelists, and not very many dead ones." —Michael Herr
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
- ÉditeurKnopf
- Date d'édition2006
- ISBN 10 067945117X
- ISBN 13 9780679451174
- ReliureRelié
- Numéro d'édition1
- Nombre de pages304
- Evaluation vendeur
Acheter neuf
En savoir plus sur cette édition
EUR 19,20
Frais de port :
EUR 4,43
Vers Etats-Unis
Autres éditions populaires du même titre
Meilleurs résultats de recherche sur AbeBooks
Image d'archives
The Amalgamation Polka
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Edition originale
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Hardcover. Etat : New. Etat de la jaquette : Fine. 1st Edition. N° de réf. du vendeur 027277
Acheter neuf
EUR 19,20
Autre devise
Image d'archives
The Amalgamation Polka
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Hardcover. Etat : new. New. Fast Shipping and good customer service. N° de réf. du vendeur Holz_New_067945117X
Acheter neuf
EUR 20,87
Autre devise
Image d'archives
The Amalgamation Polka
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Hardcover. Etat : new. New. N° de réf. du vendeur Wizard067945117X
Acheter neuf
EUR 25,28
Autre devise
Image d'archives
The Amalgamation Polka
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Hardcover. Etat : new. New Copy. Customer Service Guaranteed. N° de réf. du vendeur think067945117X
Acheter neuf
EUR 27,22
Autre devise
Image d'archives
The Amalgamation Polka (Signed First Edition)
Edité par
Alfred A. Knopf, New York
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Edition originale
Signé
Quantité disponible : 2
Vendeur :
Evaluation vendeur
Description du livre Hardcover. Etat : New. Etat de la jaquette : New. 1st Edition. New York. First edition. First printing. Hardbound. SIGNED BY AUTHOR on title page. Author has signed his name only, with no other writing. New/New. A pristine unread copy, only opened for the author to sign. Very fine/very fine in all respects. Comes with mylar dust jacket protector. Smoke free shop. All books shipped in sturdy box with bubble wrap. You cannot find a better copy. Signed by Author(s). N° de réf. du vendeur mm2006-20
Acheter neuf
EUR 38,40
Autre devise
Image d'archives
THE AMALGAMATION POLKA
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Etat : New. New. In shrink wrap. Looks like an interesting title! 1.3. N° de réf. du vendeur Q-067945117X
Acheter neuf
EUR 57,87
Autre devise
Image d'archives
The Amalgamation Polka [Hardcover] Wright, Stephen
Edité par
Knopf
(2006)
ISBN 10 : 067945117X
ISBN 13 : 9780679451174
Neuf
Couverture rigide
Quantité disponible : 1
Vendeur :
Evaluation vendeur
Description du livre Etat : New. New. In shrink wrap. Looks like an interesting title! 1.3. N° de réf. du vendeur Q-067945117x
Acheter neuf
EUR 57,87
Autre devise