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Written as liner notes to fictional music, Christopher Miller's uproarious debut novel skewers conventions in a work of high entertainment and imagination. In Sudden Noises from Inanimate Objects, the complete works of the prodigiously cranky composer Simon Silber get their diablolical due from Silber's official biographer -- a man who grows to hate his subject. Not content with simply discussing Silber's odd musical oeuvre -- whose highlights include an hourlong performance of the "Minute Waltz," an etude composed on a telephone keypad, and a transcription of crow caws -- the commentator veers into a delightfully venomous exposé of a musician whose grandiose ambitions far exceed his actual talent.
Includes decisions of the Supreme Court and various intermediate and lower courts of record; May/Aug. 1888-Sept../Dec. 1895, Superior Court of New York City; Mar./Apr. 1926-Dec. 1937/Jan. 1938, Court of Appeals.
En munter debutroman av den amerikanske forfatteren Christopher Miller. Skrevet som en forklarende tekst til en samlet utgave musikkopptak av den nylig avdøde modernistiske komponisten Simon Silber, skrevet av mannen som like før Silbers død fikk i oppdrag å skrive hans biografi. Vi får et inntrykk av at komponisten var a) muligens gal, b) en sjarlatan, c) at biografen hatet ham og d) at denne kan ha hatt mer enn bare litt å gjøre med komponistens tidlige bortgang. Boken har fått god mottagelse i England og USA. Stor heftet utgave.
This is Rossi’s wild, queer coming-of-age story. Rossi was taught only to aspire to marry a nice Jewish boy and to be a good kosher Jewish girl. At sixteen she flowers into a rebellious punk-rock rule-breaker who runs away to seek adventure. Her freedom is cut short when her parents kidnap her and dump her with a Chasidic rabbi—a “cult buster” known for “reforming” wayward Jewish girls—in Crown Heights, Brooklyn. Rossi spends the next couple of years in a repressive, misogynistic culture straight out of the nineteenth century, forced to trade in her pink hair and Sex Pistols T-shirt for maxi skirts and long-sleeved blouses and endure not only bone-crunching boredom but also outright abuse and violence. The Punk-Rock Queen of the Jews is filled with wonderfully rich characters, hilarious dialogue, and keen portraits of the secretive hothouse Orthodox world and the struggling New York City of the 1980s: dirty, on the edge, but fully vital and embracing.
Glenn Gould, one of the world’s most renowned classical musicians of the twentieth century, was also known as an eccentric genius—solitary, headstrong, a hypochondriac virtuoso. Abandoning stage performances in 1964, Gould concentrated instead on mastering the various media: recordings, radio, television, and print. His sudden death at age fifty stunned the world, but his music and legacy continue to inspire. Philosopher and critic Mark Kingwell regards Gould as a philosopher of music whose ideas about music governed his life. But those ideas were contradictory, mischievous, and deliberately provocative. Instead of a single narrative line to explain the musician, Kingwell adopts a kaleidoscopic approach. Just as Gould played twenty-one “takes” to record the opening aria in the famed 1955 Goldberg Variations, Kingwell offers twenty-one “takes” on Gould’s life. Each version offers a different interpretation of the man, but in each, Kingwell is sensitive to the complex harmonies and dissonances that sounded throughout the life of the great Gould.