Bøger af Christopher Sorrentino

A NEW YORK TIMES NOTABLE BOOK OF THE YEARA wrenching debut memoir of familial grief by a National Book Award finalist—and a defining account of what it means to love and lose a difficult parent, for readers of Joan Didion and Dani Shapiro.When Christopher Sorrentino's mother died in 2017, it marked the end of a journey that had begun eighty years earlier in the South Bronx. Victoria's life took her to the heart of New York's vibrant mid-century downtown artistic scene, to the sedate campus of Stanford, and finally back to Brooklyn—a journey witnessed by a son who watched, helpless, as she grew more and more isolated, distancing herself from everyone and everything she'd ever loved.In examining the mystery of his mother's life, from her dysfunctional marriage to his heedless father, the writer Gilbert Sorrentino, to her ultimate withdrawal from the world, Christopher excavates his own memories and family folklore in an effort to discover her dreams, understand her disappointments, and peel back the ways in which she seemed forever trapped between two identities: the Puerto Rican girl identified on her birth certificate as Black, and the white woman she had seemingly decided to become. Meanwhile Christopher experiences his own transformation, emerging from under his father's shadow and his mother's thumb to establish his identity as a writer and individual—one who would soon make his own missteps and mistakes.Unfolding against the captivating backdrop of a vanished New York, a city of cheap bohemian enclaves and a thriving avant-garde—a dangerous, decaying, but liberated and potentially liberating place—Now Beacon, Now Sea is a matchless portrait of the beautiful, painful messiness of life, and the transformative power of even conflicted grief."Acute, intimate and exceedingly fair, Sorrentino’s memoir is a post-mortem that examines not the causes of his parents’ deaths but the endurance and effects of their confounding marriage . . . This is the story of a son who is trying to dissect and understand the love that remains—and sometimes emerges—after death. We may have a greater cultural appetite for eulogies, but an autopsy, in looking directly at the cold corpse of a family in all its gruesomeness and mystery, can be just as profound, and in the hands of a writer as restrained and humane as Sorrentino, just as beautiful." —Eleanor Henderson, The New York Times Book Review

"The much anticipated new novel by Christopher Sorrentino, acclaimed author of National Book Award finalist Trance a bracing, kaleidoscopic look at truth and fiction, love and obsession, loyalty and betrayal, race and identity, chaos and free will. Sandy Mulligan, a successful writer in the midst of a personal and creative crisis, retreats from Brooklyn to the quiet Michigan town where he hopes to finish a novel and to escape his turbulent private life and the scandal that's maimed his public reputation. Once there, he becomes fascinated by John Salteau, a native Ojibway storyteller who regularly appears at the local library. But Salteau is not what he appears to be a fact suspected by Kat Danhoff, an ambitious Chicago reporter who arrives to investigate a theft from a local Indian run casino. Salteau's possible role in the crime could be the key to the biggest story of her stalled career. Bored, emotionally careless, and sexually reckless, Kat immediately attracts a restive Sandy. In their growing involvement with one another, each becomes a pawn in the other's game. As we weave among these characters, learning about their lives and motivations, and uncovering the conflicts and contradictions between their stories, we realize that the storyteller is not the only one with secrets to conceal that all three are fugitives of one kind or another. All the Sorrentino touches that have thrilled admirers are here: sparkling dialogue, satirical wit, attention to the details of everyday life, dizzyingly inventive prose but it is the deeply imagined interior lives of its all too human main characters that set this novel apart. Moving, funny, tense, and mysterious, The Fugitives is a love story, a ghost story, and a crime thriller. The Fugitives also is a cautionary tale of twenty-first century American life a meditation on the meaning of identity, on the role storytelling plays in our understanding of ourselves and each other, and on the difficulty of making genuine connections with others in a contemporary world that's connected in almost every way. Darkly satirical, exuberantly enigmatic, and completely unforgettable, The Fugitives is an event that reaffirms Sorrentino's position as an American writer of the first rank"--

2005 National Book Award Finalist for FictionA Los Angeles Times Book Review Favorite Book of the YearA Publishers Weekly Top Ten Novel of the YearIt is 1974 and a tiny band of self-styled urban guerrillas, calling itself the Symbionese Liberation Army (SLA), abducts a newspaper heiress, who then takes the guerrilla name"Tania" and shocks the world by choosing to remain with her former captors. Soon most of the SLA are dead, killed in a suicidal confrontation with police in Los Angeles, forcing Tania and her two remaining comrades--the pompous and abusive General Teko and his duplicitous lieutenant, Yolanda--into hiding, where they will remain for the next sixteen months. These are the months of Tania's sentimental education.

Deep Focus is a series of film books with a fresh approach. Take the smartest, liveliest writers in contemporary letters and let them loose on the most vital and popular corners of cinema history: midnight movies, the New Hollywood of the sixties and seventies, film noir, screwball comedies, international cult classics, and more. Passionate and idiosyncratic, each volume of Deep Focus is long-form criticism that’s relentlessly provocative and entertaining.Christopher Sorrentino’s examination of Death Wish is the second entry in the series. The fourth collaboration between director Michael Winner and actor Charles Bronson, Death Wish was the apotheosis of a succession of films hitting screens during the seventies—including Bullitt, Dirty Harry, and Walking Tall—that tacked against a prevailing liberal wind in Hollywood cinema. Exploiting audience fears of a bestial “other” infesting American cities, and explicitly linking law and order with a pastoral ideal of the Old West (and exurban subdivisions), its glib endorsement of vigilantism infuriated liberal critics even as it filled theaters with cheering audiences. Sorrentino examines Death Wish in its various contexts—as movie, as provocation, as social commentary, as political tautology, and as depiction of urban life—and considers its lasting influence on cinema.