Carthage by Joyce Carol Oates

April 3, 2017 | American Literature | By admin | 0 Comments

By Joyce Carol Oates

Oscura y apasionante, Carthage es una contundente incorporación al canon de Joyce Carol Oates.

Nombre: Cressida Catherine Mayfield
Clasificación: joven desaparecida
Fecha de nacimiento: 06/04/1986
Fecha de los angeles desaparición: 10/07/2005
Desaparecida de (país): Estados Unidos de América
Ciudad/Estado: Carthage, Nueva York
Edad en el momento de los angeles desaparición: 19 años
Sexo: mujer
Raza: blanca
Estatura: 1,55 metros
Peso: forty five kilogramos
Color de pelo: castaño oscuro
Color de ojos: castaño oscuro
Tez: pálida

Cressida, los angeles hija de Zeno Mayfield, ha desaparecido en plena noche, en las montañas de Adirondack. Cuando l. a. comunidad de Carthage se une al padre en su frenética búsqueda, descubrirá al sospechoso más inesperado: un militar condecorado, veterano de l. a. guerra de Iraq e íntimamente relacionado con los angeles familia Mayfield.

La crítica ha dicho...
«Una historia descarnada, llena de suspense.»
Elle (Premio Lettres de los lectores)

«Oates es una de las figuras más prolíficas de los angeles literatura de Estados Unidos. Obras como ésta nos recuerdan que es también una maestra... Un verdadero fenómeno de exuberancia creadora.»
Robert Saladrigas, La Vanguardia (Culturas)

«Probablemente l. a. mejor escritora norteamericana viva. Todo un clásico sobre el que aletea el Nobel.»
Elena Hevia, El Periódico de Catalunya

«Eterna aspirante al Nobel, a sus seventy six años ha dado lo mejor de sí misma y ha publicado una obra a l. a. altura de su prestigio: Carthage. Sabia, entretenida, good, meticulosa, psicológica, social y palpitante. Puntuación: 10.»
Toni Montesinos, La Razón

«Una historia cuidada al mínimo detalle... Impera los angeles sorpresa, el giro inesperado y los angeles tensión. Una historia con l. a. que Oates nos tiene siempre a su merced, obligándonos, aunque nos rebelemos, a cambiar de bando y perdonar a aquellos a los que ya nos había condenado a odiar.»
Elena Méndez, La Voz de Galicia (suplemento Fugas)

«Poderosa y apasionante... No hay forma de resistirse a su fuerza narrativa... Oates no pretende simplemente ponernos los pelos de punta o hacernos llorar, nos quiere hacer pedazos.»
Michael Dirda, The ny overview of Books

«Oates pertenece a los angeles vieja estirpe de Poe, Borges, Kafka, Cortázar o Chejov.»
Ángeles López, Qué Leer

«Una de las mejores narradoras estadounidenses del último medio siglo.»
Nuria Azancot, El Cultural

«Tensa, intensa, brillante.»
Kirkus Reviews (lectura seleccionada)

«Brillante... Increíble... Una ternura compasiva se apodera de las últimas lecciones del libro, tan palpable como l. a. gélida ironía con l. a. que arranca. Causa un efecto sobrecogedor.»
Dan Chaon, Washington Post

«Una de las mejores (si no l. a. mejor) de sus muchas novelas... Como sucede con Stephen King y otros grandes novelistas, los angeles mente de Joyce Carol Oates parece albergar un millón de historias... Un gran regalo para cualquier amante de l. a. literatura.»
Julia McMichael, San Francisco e-book Review

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Additional resources for Carthage

Sample text

The subsequent chapters investigate how three representative poets, O’Hara, Ashbery, and Baraka, mobilize their poetry in quite different ways to dramatize and hash out the problems of individualism, friendship, and the demands and drawbacks of participating in the avantgarde. Although numerous other poets sound variations on these themes, I feel these poets offer some of the most nuanced, influential, and lasting poetic articulations of its problems. Chapters 3 through 6 offer a new perspective on the work of each poet in turn, generally focusing first on their representations of selfhood and then their treatment of friendship.

35) Although Language poets frequently sing the praises of the community in these kinds of tones, they at the same time acknowledge the difficulties of balancing self and group in ways that closely echo the poets central to this study. In his provocative book My Way (a title that would probably have made Emerson, Sinatra, and Sid Vicious all smile), Charles Bernstein writes of his defiance of the potential exclusivity and insularity of the Language community: “I am leery of how loyalty to old friends can form a closed circle, and I have tried, no doubt clumsily, fitfully, inadequately, to resist the temptation” (251).

In doing so, I hope to demonstrate that literature, and poetry in particular, has the special ability to dramatize philosophical, theoretical problems, to expose their ambiguities and contradictions, and to chart their impact on human minds and lives. Many of the poems discussed here map, in ways that perhaps other discourses cannot, the allure and the danger, the magnetic pull and the dismaying limitations, of cornerstone American tropes like self-reliance, continual movement, and egalitarian fellowship.

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