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Sto caricando le informazioni... Koolaids: The Art of Wardi Rabih Alameddine
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A dazzling literary debut, KOOLAIDS shatters the dimension of time and mimes the chaos of contemporary existence as it details the impact of the AIDS epidemic and the Lebanese civil war on a circle of family and friends. In clips, quips, memories and hallucinations, tragic news reports and hilarious short plays, diary entries and conversations, KOOLAIDS tells the stories of a group of individuals who can no longer love or think except in fragments of time. Their dances with death - in wartorn Beirut, with the scourge of AIDS - form a raging affirmation of life. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)813.54Literature English (North America) American fiction 20th Century 1945-1999Classificazione LCVotoMedia:
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This, of course, occurs after pages 37 and 38, in which Krishna and Julio Cortázar are imagined in conversation. Cortázar asks"...do we have to wait until someone dies before we find his life's unity, the sum of all the actions that define a life? The problem consists in grasping that unity without becoming a hero, without becoming a saint, or a criminal, or a boxing champ, or a statesman, or a shepherd; to grasp unity in the midst of diversity, so that unity might be the vortex of a whirlwind." Krishna complains, "Why is it you humans constantly search for a deeper meaning?" Cortázar replies, "to sell books." Krishna explains, "What if I told you life has no unity? It is a series of nonlinear vignettes leading nowhere, a tale, told by an idiot, full of sound and fury, signifying nothing. It makes no sense, enjoy it." Krishnamurti jumps in, "the purpose of life is to understand it." As becomes clear through the book, they are all right.
Representation without substance, without power, is not enough. And yet, although I greatly enjoyed this book for the witty playfulness and the laughs - justified by an intelligent ruse message about fragmentation (which also enables the AIDS-Lebanon parallels) - what I most enjoyed about the book was that it simply exists. This mix of gayness and Americanness and Arabness speaks to me. I didn't find the book especially challenging - just some good fun - but it does give a sense that one exists beyond oneself, that a 'we' exists, and that this 'we' has its own community, imaginary, writers and literature (Alameddine). For me, that is beautiful. ( )