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Luc Sante

Kill All Your Darlings

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In his books and in a string of wide-ranging and inventive essays, Luc Sante has shown himself to be not only one of our pre-eminent stylists, but also a critic of uncommon power and range. He is “one of the handful of living masters of the American language, as well as a singular historian and philosopher of American experience,” says the New Yorker’s Peter Schjeldahl. Kill All Your Darlings is the first collection of Sante’s articles—many of which first appeared in the New York Review of Books and the Village Voice—and offers ample justification for such high praise. Sante is best known for his groundbreaking work in urban history (Low Life), and for a particularly penetrating form of autobiography (The Factory of Facts). These subjects are also reflected in several essays here, but it is the author’s intense and scrupulous writing about music, painting, photography, and poetry that takes center stage. Alongside meditations on cigarettes, factory work, and hipness, and his critical tour de force, “The Invention of the Blues,” Sante offers his incomparable take on icons from Arthur Rimbaud to Bob Dylan, René Magritte to Tintin, Buddy Bolden to Walker Evans, Allen Ginsberg to Robert Mapplethorpe.
Buku ini saat ini tidak tersedia
300 halaman cetak
Publikasi asli
2007
Tahun publikasi
2007
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Kutipan

  • Vanjamembuat kutipan3 tahun yang lalu
    No matter how complete it might appear to the world at large, when a writer confronts a book or a painting or a song, nothing is settled and anything can happen. You can make the work new, or it can leave you exposed in all your stupidity on your own page.
  • Vanjamembuat kutipan3 tahun yang lalu
    When you truly put yourself face to face with a piece of art, it will interrogate you as surely as you might flatter yourself to think that you have interrogated it, because unlike an ordinary crime, a work of art is never finished.
  • Vanjamembuat kutipan3 tahun yang lalu
    When you truly put yourself face to face with a piece of art, it will interrogate you as surely as you might flatter yourself to think that you have interrogated it, because unlike an ordinary crime, a work of art is never finished.

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