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Comment: Publisher: House of Anansi Pr
Date of Publication: 1998
Binding: softcover
Condition: Very Good +
Description: 8vo - over 7¾" - 9¾" tall 0887846084 Please email us if you would like further information or if you would like us to send you a picture of the book. The book i am offering may not have the same cover as the one pictured. they are stock photos from the site. Thanks for looking!
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The Collected Works of Billy the Kid Paperback – Jan. 1 1997

4.3 out of 5 stars 48 ratings

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Paperback, Jan. 1 1997
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Product details

  • ISBN-10 : 0887846084
  • Paperback : 112 pages
  • ISBN-13 : 978-0887846083
  • Product Dimensions : 12.7 x 0.81 x 20.65 cm
  • Publisher : Anansi (Jan. 1 1997)
  • Item Weight : 136 g
  • Language: : English
  • Customer Reviews:
    4.3 out of 5 stars 48 ratings

Product description

From Amazon

Twenty-five years before an international crew built highways and camps in the Tunisian desert to film The English Patient, Michael Ondaatje released The Collected Works of Billy the Kid, a hybrid of poetry, prose, and photographs he once described as "the film I couldn't afford to shoot." Like the similarly polymorphous Coming Through Slaughter (1976) and Running in the Family (1982), the shape-shifting Billy is intensely concerned with sex, death, and machines.

The virtuosity of later Ondaatje characters Buddy Bolden, Temelcoff, Caravaggio, and Kip is here found in the "machine-like left hand" of the famous gunslinger Billy the Kid. As startlingly and intimately violent as Cormac McCarthy's Border Trilogy, Billy's fusion of poetry and prose creates a uniquely associative and perspectival voice: "The hands were cold as porcelain, one was silver old bone stripped oak white eastern cigarettes white sky the eye core of sun." The carousel of changing speakers offers a vividly fractured portrait of Billy, jumping from the distance of rumour and legend to the psychological intimacy of first-hand accounts.

On the lam in an abandoned barn, Billy convalesces to the hideous sound of rats gorging themselves on fermented grain. As Billy tells it, "[I] filled my gun and fired again and again into their slow wheel across the room at each boommm, and reloaded and fired again and again." In this unapologetically observant examination of the mechanization of both violence and art, Ondaatje, a confessed "child of the bijoux," simultaneously depicts and denounces the dangerously infectious glamour of graceful villains. --Darryl Whetter