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George Steiner at the New Yorker: 1129... by Boyers, Robert Paperback / softback
FREE US DELIVERY | ISBN: 0811217043 | Quality Books
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Specificaties
- Objectstaat
- ISBN
- 0811217043
- EAN
- 9780811217040
- Publication Name
- N/A
- Type
- Paperback
- Release Title
- George Steiner at the New Yorker: 1129 (New Directions Paperbook)
- Artist
- Boyers, Robert
- Brand
- N/A
- Colour
- N/A
Over dit product
Product Identifiers
Publisher
New Directions Publishing Corporation
ISBN-10
0811217043
ISBN-13
9780811217040
eBay Product ID (ePID)
66578191
Product Key Features
Book Title
George Steiner at the New Yorker
Number of Pages
304 Pages
Language
English
Publication Year
2009
Topic
Journalism, Literary, Essays
Genre
Language Arts & Disciplines, Biography & Autobiography, Literary Collections
Format
Trade Paperback
Dimensions
Item Height
1 in
Item Weight
13.4 Oz
Item Length
8.1 in
Item Width
5.3 in
Additional Product Features
Intended Audience
Trade
Reviews
The essence of Steiner's magic--I don't really know what else to call it--has been his singular ability to articulate and elucidate, through nuance, allusion, and a peerless precision of language, those Phoebus-rays of wisdom that lie beyond wisdom and almost always elude words., [He] seems to know most things worth knowing and is acutely perceptive and energetically serious about them all.
Synopsis
An education in a portmanteau: George Steiner at The New Yorker collects his best work from his more than 150 pieces for the magazine., Between 1967 and 1997, George Steiner wrote more than 130 pieces on a great range of topics for The New Yorker, making new books, difficult ideas, and unfamiliar subjects seem compelling not only to intellectuals but to "the common reader." He possesses a famously dazzling mind: paganism, the Dutch Renaissance, children's games, war-time Britain, Hitler's bunker, and chivalry attract his interest as much as Levi-Strauss, Cellini, Bernhard, Chardin, Mandelstam, Kafka, Cardinal Newman, Verdi, Gogol, Borges, Brecht, Wittgenstein, Chomsky, and art historian/spy Anthony Blunt. Steiner makes an ideal guide from the Risorgimento in Italy to the literature of the Gulag, from the history of chess to the enduring importance of George Orwell. Again and again everything Steiner looks at in his New Yorker essays is made to bristle with some genuine prospect of turning out to be freshly thrilling or surprising., Between 1967 and 1997, George Steiner wrote more than 130 pieces on a great range of topics for The New Yorker , making new books, difficult ideas, and unfamiliar subjects seem compelling not only to intellectuals but to "the common reader." He possesses a famously dazzling mind: paganism, the Dutch Renaissance, children's games, war-time Britain, Hitler's bunker, and chivalry attract his interest as much as Levi-Strauss, Cellini, Bernhard, Chardin, Mandelstam, Kafka, Cardinal Newman, Verdi, Gogol, Borges, Brecht, Wittgenstein, Chomsky, and art historian/spy Anthony Blunt. Steiner makes an ideal guide from the Risorgimento in Italy to the literature of the Gulag, from the history of chess to the enduring importance of George Orwell. Again and again everything Steiner looks at in his New Yorker essays is made to bristle with some genuine prospect of turning out to be freshly thrilling or surprising., Between 1967 and 1997, George Steiner wrote more than 130 pieces on a great range of topics for The New Yorker, making new books, difficult ideas, and unfamiliar subjects seem compelling not only to intellectuals but to the common reader. He possesses a famously dazzling mind: paganism, the Dutch Renaissance, children s games, war-time Britain, Hitler s bunker, and chivalry attract his interest as much as Levi-Strauss, Cellini, Bernhard, Chardin, Mandelstam, Kafka, Cardinal Newman, Verdi, Gogol, Borges, Brecht, Wittgenstein, Chomsky, and art historian/spy Anthony Blunt. Steiner makes an ideal guide from the Risorgimento in Italy to the literature of the Gulag, from the history of chess to the enduring importance of George Orwell. Again and again everything Steiner looks at in his New Yorker essays is made to bristle with some genuine prospect of turning out to be freshly thrilling or surprising."
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