Vermeer in Bosnia Selected Writings
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Form:Einzelkauf Download
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Sprache:Englisch
5,49 €
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Produktdetails
Format
ePUB
Kopierschutz
Ja
Family Sharing
Ja
Text-to-Speech
Ja
Erscheinungsdatum
06.02.2013
Verlag
Knopf Doubleday Publishing GroupSeitenzahl
432 (Printausgabe)
Dateigröße
6236 KB
Sprache
Englisch
EAN
9780307833419
From the master chronicler of the marvelous and the confoundingauthor of Mr. Wilson's Cabinet of Wonderhere is a much-anticipated new collection of more than twenty pieces from the past two decades, the majority of which have never before been gathered together in book form.
Lawrence Weschler is not simply a superb reporter, essayist, and cultural observer; he is also an uncanny collector and connector of wonders. In Vermeer in Bosnia, whether he is reporting on the aftermath of the Yugoslav wars (and noticing, for example, how centuries earlier Vermeer had had to invent the peace and serenity we so prize in his work today from a youth during which all of Europe had been as ravaged as Bosnia) or dissecting the special quality of light in his beloved hometown of Los Angeles, Weschler's perceptions are often startling, his insights both fresh and profound.
Included here is Weschler's remarkable profile of Roman Polanskiwritten years before the release of The Pianist, yet all but predicting the director's confrontation with the Holocaust in that filmalongside an equally celebrated portrait of Ed Weinberger, a young designer crushed and yet hardly bowed by an extreme form of Parkinson's disease. Here is Weschler limning his own experience as the grandson of an eminent Weimar-era composer, and then as the befuddled father of an eminently fetching daughter. Here is Weschler on Art Spiegelman, David Hockney, Ed Kienholz, and Wislawa Szymborska.
Here, in short, are some of the most dazzling pieces from Lawrence Weschler's own brimming cabinet of marvels.
Lawrence Weschler is not simply a superb reporter, essayist, and cultural observer; he is also an uncanny collector and connector of wonders. In Vermeer in Bosnia, whether he is reporting on the aftermath of the Yugoslav wars (and noticing, for example, how centuries earlier Vermeer had had to invent the peace and serenity we so prize in his work today from a youth during which all of Europe had been as ravaged as Bosnia) or dissecting the special quality of light in his beloved hometown of Los Angeles, Weschler's perceptions are often startling, his insights both fresh and profound.
Included here is Weschler's remarkable profile of Roman Polanskiwritten years before the release of The Pianist, yet all but predicting the director's confrontation with the Holocaust in that filmalongside an equally celebrated portrait of Ed Weinberger, a young designer crushed and yet hardly bowed by an extreme form of Parkinson's disease. Here is Weschler limning his own experience as the grandson of an eminent Weimar-era composer, and then as the befuddled father of an eminently fetching daughter. Here is Weschler on Art Spiegelman, David Hockney, Ed Kienholz, and Wislawa Szymborska.
Here, in short, are some of the most dazzling pieces from Lawrence Weschler's own brimming cabinet of marvels.
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