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Mulligan Stew
  
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Mulligan Stew (Paperback)

de Gilbert Sorrentino (Author)
3.5étoiles sur 5  Voir tous les commentaires (2 évaluations de client)

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Product Description

Jim Harrison's vivid, tender, and deeply felt fictions have won him acclaim as an American master of the novella. His latest highly acclaimed volume of novellas, <I>The Summer He Didn't Die,</I> is a sparkling and exuberant collection about love, the senses, and family, no matter how untraditional. In the title novella, "The Summer He Didn't Die," Brown Dog, a hapless Michigan Indian, is trying to parent his two stepchildren and take care of his family's health on meager resources — it helps a bit that his charms are irresistible to the new dentist in town. "Republican Wives" is a wicked satire on the sexual neuroses of the right, the emptiness of a life lived for the status quo, and the irrational power of love that, when thwarted, can turn so easily into an urge to murder. And "Tracking" is a meditation on Harrison's fascination with place, telling his own familiar mythology through the places his life has seen and the intellectual loves he has known.

With wit as sharp and prose as lush as any Harrison has yet written, <I>The Summer He Didn't Die</I> is a resonant, warm, and joyful ode to our journey on this earth.

This text refers to an alternate Paperback edition.

About the Author

Jim Harrison is the author of over twenty books of fiction, nonfiction, and poetry. The winner of a National Endowment for the Arts grant, a Guggenheim Fellowship, and the Spirit of the West Award from the Mountains & Plains Bookseller Association, his work has been published in twenty-two languages. This text refers to an alternate Paperback edition.

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3.5étoiles sur 5 (2 évaluations de client)
 
 
 
 
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3.0étoiles sur 5 Mulligan Stewed, Mars 15 2000
Par "hairtic" (Rockford, IL) - Voir tous mes commentaires
Ce commentaire est de: Mulligan Stew (Paperback)
In the course of its 450 odd pages, Gil Sorrentino's aptly titled Mulligan Stew manages to embrace nearly every one of the flaws and shortcomings cited by various publishing house editors in the collection of rejection notices that he serves up as a kind of ironic prologue to the novel itself. Or are the letters part and parcel of the novel itself? Or is it a novel? Beats the hell out of me.

Yes, it's too long. Yes, it reads like an incoherent goulash of unrelated bits and scraps of ideas which seem to have been jettisoned from previous experiments during the revision and editing process. And the mystic caverns of technique he drags us down into have already been illuminated and thoroughly mapped out by the likes of Barth, Sukenick, Queneau, Robbes-Grillet and company. The characters are cardboard cut-outs and the dialogue flops back and forth between dull cliches and stagey pretentiousness. But wait. Sorrentino has created only one character, a disintegrating hack named Lamont, who exists in a frenzied denial of his failure as a writer. It's Lamont who's responsible for all that purple prose. Right? His work in progress is so bad that his characters begin to plot an escape just to distance themselves from the awful dialogue he keeps putting in their mouths. But that must be Sorrentino's doing. Right?

Are we being offered a window on the punishing battering a writer's psyche must endure as he goes into battle to defend the integrity of his craft against the evil philistines of the commercial publishing industry? Or is Sorrentino just putting a good one over on us while cleaning out his old notebooks? I don't know. The damn thing is diabolical. But it sure was great fun to read. And, really, isn't that enough?

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4.0étoiles sur 5 Sidesplitting skewering of bad writing & bad writers!, Janv. 28 1998
Ce commentaire est de: Mulligan Stew (Paperback)
A very funny, still timely look at the mind of a writer who is nowhere nearly as good as he hopes. He's a terrible writer, and is struggling desperately to avoid having to face it, but he's no better than the hacks and idiots he spews venom at. (The parody of erotic poetry alone is gaspingly funny and well worth the price of admission all by itself.) The book also touches on the old adage that a writer's only as good as his last book, and adds a sensible new dimension to it: that a book is only as good as its last writer. Not an easy read, and sometimes redundant, but still a scream.
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