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Sto caricando le informazioni... The Knockout Artist (edizione 1989)di Harry Crews
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Crews's novel about a boxer with the gift of knocking himself unconscious, with a new foreword by New York Times-bestselling author S. A. Cosby A Penguin Classic A favorite of longtime Harry Crews fans, The Knockout Artist (1988) portrays Eugene Talmadge Biggs, a young boxer from rural Georgia whose champion rise is diverted by a vulnerability, or gift, for knocking himself unconscious. As he begins to exploit his talents, the notorious Knockout Artist journeys a hero's descent into the New Orleans underworld and meets characters who have long since checked their morals at the door. The unforgettable climax shows Crews at his virtuoso best, when Eugene confronts his truth, and sets out to claim his freedom and win his own self-respect. Non sono state trovate descrizioni di biblioteche |
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![]() GeneriSistema Decimale Melvil (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999Classificazione LCVotoMedia:![]()
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So here's the first Crews book I've read in probably over twenty years, and I did enjoy it. Set in Jacksonville, New Orleans and Baton Rouge, another scarred, damaged, fragile character is presented here in ex-boxer Eugene Biggs, whose fight career ended when he discovered he had a glass jaw. Shortly after that, he made the discovery that he could knock himself out by punching himself in the jaw. Apparently people want to see that, and will even pay for it, and so Eugene "Knockout" Biggs entered the world of "kink." He also met another damaged soul in rich Texan socialite, Charity, who takes on Eugene as a "research project," or so she says.
There are sex, S&M, drugs, violence, and lotsa "kink" in THE KNOCKOUT ARTIST, which is of course true of most of Crews' work. I was not quite as entranced by it this time around, but probably that's just me, forty-odd years later. Crews' fiction is often characterized as Southern noir or Gothic, and sometimes as "grotesque." I'm reminded somewhat of the weird grotesques in Flannery O'Connor's work whenever I read Harry Crews, and I just researched him a bit, and found out that he and O'Connor (and James Dickey too) had the same creative writing teacher at the University of Florida, one Andrew Nelson Lytle. An interesting connection, no?
Harry Crews died several years back, and this book came from somewhere mid-career for him, in 1988. If you are a Harry Crews fan, this one will not disappoint. I found the ending a bit abrupt and inconclusive, but, if I remember correctly, even that may be typical Crews. A good read. RIP, Harry, and thanks for all the entertaining hours I spent with you and your unique creations.
- Tim Bazzett, author of the memoir, BOOKLOVER (