George Anderson

George Anderson
Автор книги: id книги: 1548103     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 1564,59 руб.     (15,29$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Контркультура Правообладатель и/или издательство: Ingram Дата добавления в каталог КнигаЛит: ISBN: 9781564788344 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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Theo Fales is a one-time historian turned book editor who specializes in ghostwriting the memoirs of leading American policy-makers. For over twenty-five years, Theo has been helping retired generals and CIA directors justify their decisions in the first-person. One day, however, hearing a song at a colleague's memorial service, Theo has a vision: he senses, in the music, a completely different way to live. He becomes obsessed by a need to align musical time with the metre of his own life and prose. Theo's method opens onto two seemingly contradictory interior landscapes: one, a rage of identification with a college classmate who has written and signed the legal document justifying the use of torture by the US; the other, a love for the singer best known for her interpretations of the composer who wrote that vital song. Theo commits himself to the idea that only through his method will he be able to save himself. Is he mad, or has history itself lost its way?

Оглавление

Peter Dimock. George Anderson

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ANDERSON

Notes for a Love Song in Imperial Time

.....

This is how I spend my days now—preparing a preliminary catalog of these valuable new additions to the work of a great American composer. Frears reported that many of his most important compositions, including “Light Years,” came to him first in the form of words. He said that once he had found the notes of the music for the words that came to him, the words themselves disappeared from memory. He didn’t bother to preserve any record of them; their work was done. Only a few have survived and that appears to have happened by sheer accident.

I have adopted a variation of Frears’s compositional technique for this method: The words in which the history of the present we are living first comes to us, we have to assume, are unreliable. The betrayal built into the syntax in which most experience is steeped makes spontaneous speech unuseable for reciprocity. A historical method is necessary to live according to first principles. In the New World we have progressed at least this far: Every moment forfeit in a history of absolute loss.

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