Altın Boyama 2 kitap serbest oDF biçim

Ollie Brown olliebrowneabf — Theroux definitely relit that inner fire to grab my backpack and book a ticket to somewhere far away. Namely India and southeast Asia. His sentiments on travel in general are insightful and well articulated. There was no real climax to his story, but I'm not sure that element is really necessary here. As this is the first time I've read a non-fiction, first person narrative travel book, I'm not sure what the 'formula' is for this type of writing. Seeing as he's a best seller and published in many countries, I'm going to say he knows his craft and does it well.

Judy Chen bjsolani — "Books--all those big, heavy-bottomed ashcans where men empty their lives. I like the leopard. I don't like Benj. Franklin." This book starts off with some interestingly hallucinatory and surrealistic prose, but cannot maintain the necessary mixture of abstraction, alienation, and violence. Soon it devolves into bad gender relations and attacks on language and tradition, as per above or: "Man has been corrupted by his symbols. Language has killed his animal." &etc. There are interesting aspects and themes present, but none of them are ones that aren't done better elsewhere. Try Derrida, Proust, Camus.

Brand Box brand_box — KO0O0O0OOO0O0L BO0O0KKKK [[[LOVEEEE iiT :))))

Maksym Mykal mykalmax — A poetic, grand, magic realist story about a New Year's Eve celebration held by a working-class Chilean family at an Argentinian construction site. Aira is sweeping at first as he ruminates human behavior as it reflects the everyday concerns of his characters. The tiniest detail opens up a universe of thought and reflection and often some kind of truth. The Viñas family lives and works in a haunted condo development. The ever-present nude male ghosts enter and exit as they please, though they are largely ignored by the family save for the pre-teen daughter, Patri, who is fascinated by them. The central narrative unravels just a bit toward the end, other narratives having already been unraveled or cast aside. Characters’ dialogues becoming more absurd, reflecting the slightly drunken and highly festive countdown to the New Year. The mother and daughter’s unbelievable discussion about the ‘virility’ of males is central to the daughter’s ultimate and predictable decision. The literalness of their language is in contrast to the subtleties in previous scenes, with one very important exception: Patri's dream in which the whole of architecture, including unmade works, is theorized. Aira is quite clear with his language, if not his vision, and the ghosts hovering over like death cause mainly ambivalence within the family. What do they represent? Death itself? The unspeakable? The abstract? Aira’s choice is to allow the ghosts to embody all this and more, without explanation to the reader, while they remain quite literal as ghosts.