The Last White Man - Hamid, Mohsin
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From the internationally bestselling author of Exit West, a story of love, loss, and rediscovery in a time of unsettling change One morning, Anders wakes to find that his skin has turned dark, his reflection a stranger to him. At first he tells only Oona, an old friend, newly a lover. Soon, reports of similar occurrences surface across the land. Some see in the transformations the long-dreaded overturning of an established order, to be resisted to a bitter end. In many, like Anders's father and Oona's mother, a sense of profound loss wars with profound love. As the bond between Anders and Oona…mehr

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Produktbeschreibung
From the internationally bestselling author of Exit West, a story of love, loss, and rediscovery in a time of unsettling change One morning, Anders wakes to find that his skin has turned dark, his reflection a stranger to him. At first he tells only Oona, an old friend, newly a lover. Soon, reports of similar occurrences surface across the land. Some see in the transformations the long-dreaded overturning of an established order, to be resisted to a bitter end. In many, like Anders's father and Oona's mother, a sense of profound loss wars with profound love. As the bond between Anders and Oona deepens, change takes on a different shading: a chance to see one another, face to face, anew. 'Gorgeously crafted . . . The Last White Man concludes on a note of hope, a door jarred open just enough to let transcendence pour through' O, the Oprah Magazine 'The electric premise, borrowed from Kafka's The Metamorphosis, looks set to update a classic to make it urgently relevant' Evening Standard 'A hypnotic race fable . . . In the hands of such a deft and humane writer as Hamid, a bizarre construct is moved far beyond any mere 'what if'' Guardian
Autorenporträt
MOHSIN HAMID writes regularly for The New York Times, the Guardian and the New York Review of Books, and is the author of Exit West, The Reluctant Fundamentalist, Moth Smoke, How to Get Filthy Rich in Rising Asia and Discontent and its Civilizations. Born and mostly raised in Lahore, he has since lived between Lahore, London and New York.
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Advance praise for The Last White Man:

Searing, exhilarating. . . . reimagines Kafka s iconic The Metamorphosis for our racially charged era. Hamid brings a restless, relentless brilliance to his characters journeys and the revelations, public and private, that inform us all. Gorgeously crafted, morally authoritative, The Last White Man concludes on a note of hope, a door jarred open just enough to let transcendence pour through. Oprah Daily

[A] tale of poignant magical realism. . . . Haunting and arresting in equal measure. Elle

An emotionally gut-punching exploration of race, privilege, grief, and white anxiety. Mother Jones

A brilliantly realized allegory of racial transformation. . . . Hamid s story is poignant and pointed, speaking to a more equitable future in which widespread change, though confusing and dislocating in the moment, can serve to erase the divisions of old as they fade away with the passing years. A provocative tale that raises questions of racial and social justice at every turn. Kirkus (starred review)

With one remarkable book after another, Mohsin Hamid has proven himself to be one of the 21st century's most essential writers. This is, perhaps, his most remarkable work yet. THE LAST WHITE MAN is myth and poetry operating as a deeper form of social commentary, and an extraordinary vision of human possibility. Ayad Akhtar, author of Homeland Elegies

Praise for Mohsin Hamid:

Hamid s enticing strategy is to foreground the humanity. . . . [He] exploits fiction s capacity to elicit empathy and identification to imagine a better world. The New York Times Book Review

Lyrical and urgent . . . peels away the dross of bigotry to expose the beauty of our common humanity. O, the Oprah Magazine

Moving, audacious, and indelibly human. Entertainment Weekly

Feels immediately canonical, so firm and unerring is Hamid s understanding of our time and its most pressing questions. The New Yorker…mehr