Jonathan Safran Foer emerged as one of the most original writers of his generation with his best-selling debut novel, Everything Is Illuminated. Now, with humor, tenderness, and awe, he confronts the traumas of our recent history. What he discovers is solace in that most human quality, imagination. Meet Oskar Schell, an inventor, Francophile, tambourine player, Shakespearean actor, jeweler, pacifist, correspondent with Stephen Hawking and Ringo Starr. He is nine years old. And he is on an urgent, secret search through the five boroughs of New York. His mission is to find the lock that fits a mysterious key belonging to his father, who died in the World Trade Center on 9/11. An inspired innocent, Oskar is alternately endearing, exasperating, and hilarious as he careens from Central Park to Coney Island to Harlem on his search. Along the way he is always dreaming up inventions to keep those he loves safe from harm. What about a birdseed shirt to let you fly away? What if you could actually hear everyone's heartbeat? His goal is hopeful, but the past speaks a loud warning in stories of those who've lost loved ones before. As Oskar roams New York, he encounters a motley assortment of humanity who are all survivors in their own way. He befriends a 103-year-old war reporter, a tour guide who never leaves the Empire State Building, and lovers enraptured or scorned. Ultimately, Oskar ends his journey where it began, at his father's grave. But now he is accompanied by the silent stranger who has been renting the spare room of his grandmother's apartment. They are there to dig up his father's empty coffin.
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“Imagine a novel as verbally cunning as A Clockwork Orange, as harrowing as The Painted Bird, as exuberant and twee as Candide, and you have Everything Is Illuminated . . . Read it, and you'll feel altered, chastened — seared in the fire of something new.” — Washington Post With only a yellowing photograph in hand, a young man — also named Jonathan Safran Foer — sets out to find the woman who might or might not have saved his grandfather from the Nazis. Accompanied by an old man haunted by memories of the war, an amorous dog named Sammy Davis, Junior, Junior, and the unforgettable Alex, a young Ukrainian translator who speaks in a sublimely butchered English, Jonathan is led on a quixotic journey over a devastated landscape and into an unexpected past. As their adventure unfolds, Jonathan imagines the history of his grandfather’s village, conjuring a magical fable of startling symmetries that unite generations across time. As his search moves back in time, the fantastical history moves forward, until reality collides with fiction in a heart-stopping scene of extraordinary power. “A rambunctious tour de force of inventive and intelligent storytelling . . . Foer can place his reader’s hand on the heart of human experience, the transcendent beauty of human connections. Read, you can feel the life beating.” — Philadelphia Inquirer
Cinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
Instant New York Times Bestseller A New York Times Notable Book of 2016 A Time Magazine Top 10 Novel of 2016 A Times Literary Supplement Best Book of 2016 “Dazzling . . . A profound novel about the claims of identity, history, family, and the burdens of a broken world.” —Maureen Corrigan, NPR’s “Fresh Air” In the book of Genesis, when God calls out, “Abraham!” before ordering him to sacrifice his son, Isaac, Abraham responds, “Here I am.” Later, when Isaac calls out, “My father!” before asking him why there is no animal to slaughter, Abraham responds, “Here I am.” How do we fulfill our conflicting duties as father, husband, and son; wife and mother; child and adult? Jew and American? How can we claim our own identities when our lives are linked so closely to others’? These are the questions at the heart of Jonathan Safran Foer’s first novel in eleven years—a work of extraordinary scope and heartbreaking intimacy. Unfolding over four tumultuous weeks in present-day Washington, D.C., Here I Am is the story of a fracturing family in a moment of crisis. As Jacob and Julia Bloch and their three sons are forced to confront the distances between the lives they think they want and the lives they are living, a catastrophic earthquake sets in motion a quickly escalating conflict in the Middle East. At stake is the meaning of home—and the fundamental question of how much aliveness one can bear. Showcasing the same high-energy inventiveness, hilarious irreverence, and emotional urgency that readers loved in his earlier work, Here I Am is Foer’s most searching, hard-hitting, and grandly entertaining novel yet. It not only confirms Foer’s stature as a dazzling literary talent but reveals a novelist who has fully come into his own as one of our most important writers.
This book explores creative writing and its various relationships to education through a number of short, evocative chapters written by key players in the field. At times controversial, the book presents issues, ideas and pedagogic practices related to creative writing in and around education, with a focus on higher education. The volume aims to give the reader a sense of contemporary thinking and to provide some alternative points of view, offering examples of how those involved feel about the relationship between creative writing and education. Many of the contributors play notable roles in national and international organizations concerned with creative writing and education. The book also includes a Foreword by Philip Gross, who won the 2009 TS Eliot Prize for poetry.
What does it mean to be a child in Africa? In the detached Western media, narratives of penury, wickedness and death have dominated portrayals of African childhood. The hegemonic lens of the West has failed to take into account the intricacies of not only what it means to be an African child in local and culturally specific contexts, but also African childhood in general. Challenging colonial discourses, this edited volume guides the reader through different comprehensions and perspectives of childhood in Africa. Using a blend of theory, empiricism and history, the contributors to this volume offer studies from a range of fields including African literature, Afro-centric psychology and sociology. Importantly, in its eclectic geographical coverage of Africa, this book unashamedly presents the good, the bad and the ugly of African childhood. The resilience, creativity, pains and triumphs of African childhood are skilfully woven together to present the myriad of lived experiences and aspirations of children from across Africa. As an important contribution to African childhood studies, this book has the potential to be used by policymakers to shape, sustain or change socio-cultural, economic and education systems that accommodate African childhood dynamics and experiences at different levels.
This original study examines Jean-François Lyotard's philosophical concept of the differend and details its unexplored implications for literature. it provides a new framework with which to understand the discourse itself, from its Homeric beginnings to postmodern works by authors such as Michael Ondaatje and Jonathan Safran Foer.
Jonathan Safran Foer spent much of his teenage and college years oscillating between omnivore and vegetarian. But on the brink of fatherhood-facing the prospect of having to make dietary choices on a child's behalf-his casual questioning took on an urgency His quest for answers ultimately required him to visit factory farms in the middle of the night, dissect the emotional ingredients of meals from his childhood, and probe some of his most primal instincts about right and wrong. Brilliantly synthesizing philosophy, literature, science, memoir and his own detective work, Eating Animals explores the many fictions we use to justify our eating habits-from folklore to pop culture to family traditions and national myth-and how such tales can lull us into a brutal forgetting. Marked by Foer's profound moral ferocity and unvarying generosity, as well as the vibrant style and creativity that made his previous books, Everything is Illuminated and Extremely Loud and Incredibly Close, widely loved, Eating Animals is a celebration and a reckoning, a story about the stories we've told-and the stories we now need to tell.
Examination Thesis from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 2,0, Christian-Albrechts-University of Kiel, 42 entries in the bibliography, language: English, abstract: “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch“1 This is a famous quotation by Theodor W. Adorno. It may surprise to find it at the beginning of a thesis paper called “9/11 in Literature and Film”. Obviously, the amount of victims of the Holocaust and 9/11 differ enormously, and the events are therefore incomparable. However, many people have labeled the attacks on the World Trade Center and Pentagon that happened on September 11, 2001 as the major catastrophe of our times; irreversibly changing the world we live in. Causing a trauma and massive grief to many people and leading to further deaths in Afghanistan and Iraq (civilians as well as soldiers), the attacks have huge significance for today’s worldwide political and social situation. For example, the issue of withdrawing the troops from Iraq is a major point of discussion in the ongoing presidential candidate debate between Barack Obama and Hillary Clinton. It is the question of how one can do justice to the many victims of 9/11 and its aftermath by means of literature and film. Is it possible to put trauma and grief in words, and maybe even contribute to overcome these states and accept reality? This will be the central focus of this thesis paper. To examine how 9/11 is represented in literature, I have chosen to examine three novels and one collection of comic strips. These have been written by very different authors: a hyped youngster, an old hand at fiction about politics and terrorism, an Englishman and a comic-strip artist who has before dealt with the Holocaust in a graphic novel. This indicates a great variety of how to come to terms with the traumatic experience; however, they share more than may be visible at first sight. Additionally, I will analyze two films, a documentary and a mainstream Hollywood feature and show how these films surprisingly similarly tackle issues of loss and grief.
Read each year around the seder table, the Haggadah recounts through prayer, song, and ritual the extraordinary story of Exodus, when Moses led the Israelites out of slavery in Egypt to wander the desert for forty years before reaching the Promised Land. Now, Jonathan Safran Foer has orchestrated a new way of experiencing and understanding one of our oldest, most timeless, and sacred stories, with a new translation of the traditional text by Nathan Englander and provocative commentary by major Jewish writers and thinkers Jeffrey Goldberg, Lemony Snicket, Rebecca Newberger Goldstein, and Nathaniel Deutsch. Ravishingly designed and illustrated by the acclaimed Israeli artist and calligrapher Oded Ezer, New American Haggadah is an utterly unique and absorbing prayer book, the first of its kind, that brings together some of the preeminent voices of our time.