Julin herbert (10 résultats)

Paperback. Etat : Good. In this madcap, insatiably inventive, bravura story collection, Julián Herbert brings to vivid life people who struggle to retain a measure of sanity in an insane world. Here we become acquainted with a vengeful "personal memories coach" who tries to get even with his delinquent clients; a former journalist with a cocaine habit who travels through northern Mexico impersonating a famous author of Westerns; the ghost of Juan Rulfo; a man who discovers music in his teeth; and, in the deliriously pulpy title story, a drug lord who looks just like Quentin Tarantino, who kidnaps a mopey film critic to discuss Tarantino's films while he sends his goons to find and kill the doppelgänger that has colonized his consciousness. Herbert's astute observations about human nature in extremis feel like the reader's own revelations. The antic and often dire stories in Bring Me the Head of Quentin Tarantino depict the violence and corruption that plague Mexico today, but they are also deeply ruminative and layered explorations of the narrative impulse and the ethics of art making. Herbert asks: Where are the lines between fiction, memory, and reality? What is the relationship between power, corruption, and survival? How much violence can a person (and a country) take? The stories in this explosive collection showcase the fevered imagination of a significant contemporary writer.…

Paperback. Etat : Good. An incandescent new voice from Mexico, for readers of Ben Lerner and Rachel Cusk Sitting at the bedside of his mother as she is dying from leukemia in a hospital in northern Mexico, the narrator of Tomb Song is immersed in memories of his unstable boyhood and youth. His mother, Guadalupe, was a prostitute, and Julián spent his childhood with his half brothers and sisters, each from a different father, moving from city to city and from one tough neighborhood to the next. Swinging from the present to the past and back again, Tomb Song is not only an affecting coming-of-age story but also a searching and sometimes frenetic portrait of the artist. As he wanders the hospital, from its buzzing upper floors to the haunted depths of the morgue, Julián tells fevered stories of his life as a writer, from a trip with his pregnant wife to a poetry festival in Berlin to a drug-fueled and possibly completely imagined trip to another festival in Cuba. Throughout, he portrays the margins of Mexican society as well as the attitudes, prejudices, contradictions, and occasionally absurd history of a country ravaged by corruption, violence, and dysfunction. Inhabiting the fertile ground between fiction, memoir, and essay, Tomb Song is an electric prose performance, a kaleidoscopic, tender, and often darkly funny exploration of sex, love, and death. Julián Herbert's English-language debut establishes him as one of the most audacious voices in contemporary letters.…

Paperback. Etat : Good. In this madcap, insatiably inventive, bravura story collection, Julián Herbert brings to vivid life people who struggle to retain a measure of sanity in an insane world. Here we become acquainted with a vengeful "personal memories coach" who tries to get even with his delinquent clients; a former journalist with a cocaine habit who travels through northern Mexico impersonating a famous author of Westerns; the ghost of Juan Rulfo; a man who discovers music in his teeth; and, in the deliriously pulpy title story, a drug lord who looks just like Quentin Tarantino, who kidnaps a mopey film critic to discuss Tarantino's films while he sends his goons to find and kill the doppelgänger that has colonized his consciousness. Herbert's astute observations about human nature in extremis feel like the reader's own revelations. The antic and often dire stories in Bring Me the Head of Quentin Tarantino depict the violence and corruption that plague Mexico today, but they are also deeply ruminative and layered explorations of the narrative impulse and the ethics of art making. Herbert asks: Where are the lines between fiction, memory, and reality? What is the relationship between power, corruption, and survival? How much violence can a person (and a country) take? The stories in this explosive collection showcase the fevered imagination of a significant contemporary writer.…

Paperback. Etat : Good. An incandescent new voice from Mexico, for readers of Ben Lerner and Rachel Cusk Sitting at the bedside of his mother as she is dying from leukemia in a hospital in northern Mexico, the narrator of Tomb Song is immersed in memories of his unstable boyhood and youth. His mother, Guadalupe, was a prostitute, and Julián spent his childhood with his half brothers and sisters, each from a different father, moving from city to city and from one tough neighborhood to the next. Swinging from the present to the past and back again, Tomb Song is not only an affecting coming-of-age story but also a searching and sometimes frenetic portrait of the artist. As he wanders the hospital, from its buzzing upper floors to the haunted depths of the morgue, Julián tells fevered stories of his life as a writer, from a trip with his pregnant wife to a poetry festival in Berlin to a drug-fueled and possibly completely imagined trip to another festival in Cuba. Throughout, he portrays the margins of Mexican society as well as the attitudes, prejudices, contradictions, and occasionally absurd history of a country ravaged by corruption, violence, and dysfunction. Inhabiting the fertile ground between fiction, memoir, and essay, Tomb Song is an electric prose performance, a kaleidoscopic, tender, and often darkly funny exploration of sex, love, and death. Julián Herbert's English-language debut establishes him as one of the most audacious voices in contemporary letters.…

Paperback. Etat : Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Paperback. Etat : Good. «Me interesa la no ficción porque me interesa la ficción: quiero decir, la zona de grisura donde esas dos versiones de un pacto cognitivo con la realidad se tocan.» Los ensayos de este libro fueron escritos entre 2019 y 2024. Su objeto principal, mas no único, es la narrativa mexicana publicada durante la última década. El marco de referencia es adrede caprichoso: más que reiterar estándares académicos, me interesa interrogar al fenómeno literario contemporáneo sin sucumbir a la obviedad, la uniformidad y el aburrimiento. Overol está dividido en tres partes: "Contexto", que incluye ensayos extensos sobre técnica y ambiente cultural; "Lecturas", que compila artículos más breves, dedicados a un solo autor; y "Relecturas", con tres ensayos sobre autores o libros de décadas anteriores, y sobre el modo en que esos materiales platican con el presente. Los llamo "apuntes" no por su falta de profundidad, sino por el predominio de lo casual en la elección de los relatos sobre los que discurro. El lector constatará la ausencia de algunos de los títulos más vendidos y polémicos de la actualidad. Este es un truco que le aprendí a George Steiner: la convicción de que escribir sobre libros que te gustan y sobre las razones por las que te gustan vuelve más interesante y menos amargo el trayecto de la crítica. Casi siempre. -Julián Herbert ENGLISH DESCRIPTION "I am interested in non-fiction because I am interested in fiction: in other words, the gray area where these two versions of our cognitive pact with reality intersect." The essays in this book were written between 2019 and 2024. Their main, if not only subject, is Mexican literature of the last decade, but this is a somewhat arbitrary frame of reference. My goal is not academic analysis but rather an interrogation of contemporary literature without being obvious, conventional or boring. Overol, therefore, is divided into three parts: "Context," which includes lengthly musings on technique and cultural context; "Readings," shorter essays focusing on a single author; and "Re-readings," three pieces about earlier books or authors and how they speak to the present.  I call these "notes," not because they lack profundity but because of the casual choice of works addressed.  As the reader will notice, these do not include recent bestsellers or controversial titles.  This is a trick I learned from George Steiner: the conviction that writing about books you like and why you like them makes the job of the critic more interesting and, certainly, less bitter. Almost always. - Julián Herbert.…

Paperback. Etat : Good. «Me interesa la no ficción porque me interesa la ficción: quiero decir, la zona de grisura donde esas dos versiones de un pacto cognitivo con la realidad se tocan.» Los ensayos de este libro fueron escritos entre 2019 y 2024. Su objeto principal, mas no único, es la narrativa mexicana publicada durante la última década. El marco de referencia es adrede caprichoso: más que reiterar estándares académicos, me interesa interrogar al fenómeno literario contemporáneo sin sucumbir a la obviedad, la uniformidad y el aburrimiento. Overol está dividido en tres partes: "Contexto", que incluye ensayos extensos sobre técnica y ambiente cultural; "Lecturas", que compila artículos más breves, dedicados a un solo autor; y "Relecturas", con tres ensayos sobre autores o libros de décadas anteriores, y sobre el modo en que esos materiales platican con el presente. Los llamo "apuntes" no por su falta de profundidad, sino por el predominio de lo casual en la elección de los relatos sobre los que discurro. El lector constatará la ausencia de algunos de los títulos más vendidos y polémicos de la actualidad. Este es un truco que le aprendí a George Steiner: la convicción de que escribir sobre libros que te gustan y sobre las razones por las que te gustan vuelve más interesante y menos amargo el trayecto de la crítica. Casi siempre. -Julián Herbert ENGLISH DESCRIPTION "I am interested in non-fiction because I am interested in fiction: in other words, the gray area where these two versions of our cognitive pact with reality intersect." The essays in this book were written between 2019 and 2024. Their main, if not only subject, is Mexican literature of the last decade, but this is a somewhat arbitrary frame of reference. My goal is not academic analysis but rather an interrogation of contemporary literature without being obvious, conventional or boring. Overol, therefore, is divided into three parts: "Context," which includes lengthly musings on technique and cultural context; "Readings," shorter essays focusing on a single author; and "Re-readings," three pieces about earlier books or authors and how they speak to the present.  I call these "notes," not because they lack profundity but because of the casual choice of works addressed.  As the reader will notice, these do not include recent bestsellers or controversial titles.  This is a trick I learned from George Steiner: the conviction that writing about books you like and why you like them makes the job of the critic more interesting and, certainly, less bitter. Almost always. - Julián Herbert.…

Etat : New. Etat de la jaquette : New. Enviamos a todo el mundo. 100% garant'a. Libro nuevo.

Etat : New. Etat de la jaquette : New. Enviamos a todo el mundo. 100% garant'a. Libro nuevo.

Etat : New. Etat de la jaquette : New. Enviamos a todo el mundo. 100% garant'a. Libro nuevo.