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Dust, Spittle and Wind is a story of youth, dreams of innocence and transcendence told within a postcolonial setting. It follows Olu Ray, the main character of the novel through a bitter-sweet journey of loss and self-realisation. The novel focuses on the final moment before actual emotional maturity when dreams either become flowers of brilliance or cold ashes. The novel describes the cold hand of fate as it swings between both extremes. Olu Ray eventually survives at the price of the abrupt loss of his innocence. The book teems with colourful characters and the blistering heat of the physical terrain appears to mirrors the lush sexuality on display. It explores the nature of taboo, the frustrations caused by it and the compulsions it provokes. In Sanya Osha's telling, society seems to be on the verge of irreparable breakdown but somehow manages to pull itself back from the abyss. The tension that runs through the novel is relentless but then, there is also much tenderness and subtlety that balances everything out. This is unquestionably a feat of powerful artistry. It deservedly won the Association of Nigerian Authors' Prize for prose in 1992.
The notion of the postcolonial metropolis has gained prominence in the last two decades both within and beyond postcolonial studies. Disciplines such as sociology and urban studies, however, have tended to focus on the economic inequalities, class disparities, and other structural and formative aspects of the postcolonial metropolises that are specific to Western conceptions of the city at large. It is only recently that the depiction of postcolonial metropolises has been addressed in the writings of Suketu Mehta, Chris Abani, Amit Chaudhuri, Salman Rushdie, Aravind Adiga, Helon Habila, Sefi Atta, and Zakes Mda, among others. Most of these works probe the urban specifics and physical and cultural topographies of postcolonial cities while highlighting their agential capacity to defy, appropriate, and abrogate the superimposition of theories of Western modernity and urbanism. These ASNEL Papers are all concerned with the idea of the postcolonial (in the) metropolis from various disciplinary viewpoints, as drawn from a great range of cityscapes (spread out over five continents). The essays explore, on the one hand, ideas of spatial subdivision and inequality, political repression, social discrimination, economic exploitation, and cultural alienation, and, on the other, the possibility of transforming, reinventing and reconfigurating the ‘postcolonial condition’ in and through literary texts and visual narratives. In this context, the volume covers a broad spectrum of theoretical and thematic approaches to postcolonial and metropolitan topographies and their depictions in writings from Australia and New Zealand, South Africa, South Asia, and greater Asia, as well as the UK, addressing issues such as modernity and market economies but also caste, class, and social and linguistic aspects. At the same time, they reflect on the postcolonial metropolis and postcolonialism in the metropolis by concentrating on an urban imaginary which turns on notions of spatial subdivision and inequality, political repression, social discrimination, economic exploitation, and cultural alienation – as the continuing ‘postcolonial’ condition.
Beautifully evocative and full of heart, this stunning work of historical fiction tells the story of Manhattan’s fabled American Museum In 1842, Phineas T. Barnum is a young man, freshly arrived in New York and still unknown to the world. With uncanny confidence and impeccable timing, he transforms a dusty natural history museum into a great ark for public imagination. Barnum’s museum, with its human wonders and extraordinary live animal menagerie, rises to become not only the nation’s most popular attraction, but also a catalyst that ushers America out of a culture of glassed-in exhibits and into the modern age of entertainment. In this kaleidoscopic setting, the stories of two compelling characters are brought to life. Emile Guillaudeu is the museum’s grumpy taxidermist, who is horrified by the chaotic change Barnum brings to his beloved institution. Ana Swift is a professional giantess plagued by chronic pain and jaded by a world of gawkers. The differences between these two are many: one is isolated and spends his working hours making dead things look alive, while the other has people pushing against her, and reacting to her, every day. But they both move toward change, one against his will—propelled by a paradigm shift happening whether he likes it or not, and the other because she is struggling to survive. In many shapes and forms, metamorphosis is at the core of Among the Wonderful. Pursuing this theme, the book weaves a world where upper Manhattan is still untrammeled wilderness, the Five Points is at the height of its bloody glory, and within the walls of Barnum’s museum, ancient tribal feuds play out in the midst of an unlikely community of marvels. “An engaging novel from newcomer Stacy Carlson. The great strength of this book is Carlson's evocation of time and place.” —O, The Oprah Magazine
At the end of his tether, Solomon Wenku contemplates a life gone awry amid widespread postcolonial squalor. Tani enters his life supposedly as a contrast to his encroaching existential gloom only to speed up the pace of his total collapse. Sanya Osha’s cult novel beams a searchlight on what it feels like to survive personally and collectively in unyielding tropical malaise. This web of a narrative pits the rural versus the urban, tradition against modernity with a gallery of immortal characters and with a yearning that sings lushly of freedom.
A drug subculture finally becomes visible indeed the themes of visibility and invisibility are what animate this haunting tale of loss, craving and abjection.
The most appealing quality of the novel is its haunting and unusual prose that really ought to be termed poetry. But this is poetry with an added touch as it is also a narrative that weaves together many lives engrossed in the daily struggle for survival. There are no heroes or villains, just ordinary folk trying to make the most of extraordinary circumstances.
Gathers essays, poems, song lyrics, and short stories about the U.S.-Mexico borderland, with contributions by many famous literary figures.
"A story of youth, dreams of innocence and transcendence told within a postcolonial setting. It follows Olu Ray, the main character of the novel, through a bitter-sweet journey of loss and self-realisation."--Back cover.
This is a work of great scope, a powerful illumination of an enigmatic figure. Told from the point of view of an ancient shaman, this is the dark and mystical story of Mexico's greatest revolutionary general, Pancho Villa. Shedding the Hollywood mantle of the drunken, womanizing bandit-turned-hero, the Villa who comes to life in this extraordinary novel is part man and part myth, part visionary hoodlum and part brilliant general. A troubled childhood--marked by his father's early death in the fields and his sister's rape by a local landowner--and a prophetic dream propel young Villa through a period of lawlessness and drifting and into life as a military leader. The story moves convincingly through the events of Villa's life, showing him to be a man of fierce passions and moral conviction, a natural leader for the rebellion.
The Book of Unknowing meditates on John's confrontation with the incandescent Jesus, a figure of our desire for immortality. Guiding us through the Gospel's coming to grips with Jesus, the poet David Sten Herrstrom prefers sparking the imagination to arguing a thesis, as he explores John's own obsessions, such as image (light), symbol (water), sign (water to wine), shapeliness (symmetry), loves (Peter, Mary's), and above all, words (the Word, the body of Jesus). The result is a heady, literary engagement not afraid of wit and paradox. For anyone who loves literature or whose business is interpretation--ministers and teachers--this book blossoms with fresh revelations about the many voices of Jesus living in the House of the Interpreter and interacting with another interpreter (Nicodemus), as well as about John the interpreter who continually pauses to explain Jesus' motives, metaphors, and the meaning of his death. This meditation on John's Gospel takes the goat's leaping approach to the craggy language of John and Jesus rather than the methodical rock climber's. And along the way, to help him find footholds on the how and why of John's strategies, the author calls on other poets, from William Blake to Emily Dickinson and Miguel de Unamuno. The result: a poet's rather than a preacher's, theologian's, or scholar's reading of John's book, one which crosses the borders of disciplines. Throughout The Book of Unknowing, David Herrstrom is unsettled and exhilarated by the peculiar orneriness and fragrance of John's book, by its strange particulars that grab him by the throat and call lives into question. As William Blake has said, "Exuberance is Beauty," and this is an exuberant book.