Download Carthage by Joyce Carol Oates PDF

By Joyce Carol Oates

Oscura y apasionante, Carthage es una contundente incorporación al canon de Joyce Carol Oates.

Nombre: Cressida Catherine Mayfield
Clasificación: joven desaparecida
Fecha de nacimiento: 06/04/1986
Fecha de los angeles desaparición: 10/07/2005
Desaparecida de (país): Estados Unidos de América
Ciudad/Estado: Carthage, Nueva York
Edad en el momento de l. a. desaparición: 19 años
Sexo: mujer
Raza: blanca
Estatura: 1,55 metros
Peso: forty five kilogramos
Color de pelo: castaño oscuro
Color de ojos: castaño oscuro
Tez: pálida

Cressida, los angeles hija de Zeno Mayfield, ha desaparecido en plena noche, en las montañas de Adirondack. Cuando los angeles comunidad de Carthage se une al padre en su frenética búsqueda, descubrirá al sospechoso más inesperado: un militar condecorado, veterano de l. a. guerra de Iraq e íntimamente relacionado con los angeles familia Mayfield.

La crítica ha dicho...
«Una historia descarnada, llena de suspense.»
Elle (Premio Lettres de los lectores)

«Oates es una de las figuras más prolíficas de l. a. literatura de Estados Unidos. Obras como ésta nos recuerdan que es también una maestra... Un verdadero fenómeno de exuberancia creadora.»
Robert Saladrigas, La Vanguardia (Culturas)

«Probablemente los angeles mejor escritora norteamericana viva. Todo un clásico sobre el que aletea el Nobel.»
Elena Hevia, El Periódico de Catalunya

«Eterna aspirante al Nobel, a sus seventy six años ha dado lo mejor de sí misma y ha publicado una obra a los angeles altura de su prestigio: Carthage. Sabia, entretenida, good, meticulosa, psicológica, social y palpitante. Puntuación: 10.»
Toni Montesinos, La Razón

«Una historia cuidada al mínimo detalle... Impera los angeles sorpresa, el giro inesperado y los angeles tensión. Una historia con l. a. que Oates nos tiene siempre a su merced, obligándonos, aunque nos rebelemos, a cambiar de bando y perdonar a aquellos a los que ya nos había condenado a odiar.»
Elena Méndez, La Voz de Galicia (suplemento Fugas)

«Poderosa y apasionante... No hay forma de resistirse a su fuerza narrativa... Oates no pretende simplemente ponernos los pelos de punta o hacernos llorar, nos quiere hacer pedazos.»
Michael Dirda, The long island evaluate of Books

«Oates pertenece a l. a. vieja estirpe de Poe, Borges, Kafka, Cortázar o Chejov.»
Ángeles López, Qué Leer

«Una de las mejores narradoras estadounidenses del último medio siglo.»
Nuria Azancot, El Cultural

«Tensa, intensa, brillante.»
Kirkus Reviews (lectura seleccionada)

«Brillante... Increíble... Una ternura compasiva se apodera de las últimas lecciones del libro, tan palpable como l. a. gélida ironía con l. a. que arranca. Causa un efecto sobrecogedor.»
Dan Chaon, Washington Post

«Una de las mejores (si no l. a. mejor) de sus muchas novelas... Como sucede con Stephen King y otros grandes novelistas, l. a. mente de Joyce Carol Oates parece albergar un millón de historias... Un gran regalo para cualquier amante de l. a. literatura.»
Julia McMichael, San Francisco e-book Review

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Jack London worked hard to make himself into a “brand-name” author, one whose writings were in constant demand by publishers and readers, but London overspent his royalties and, toward the end of his life, found himself worn out and low on inspiration. Robert Frost, who 21 1 Dreiser’s end-of-the-year royalty statement from Liveright for 1925. The figures reflect the great success of An American Tragedy, along with continuing sales for a 1923 reprint of The “Genius”. The tallies for Dreiser’s other books are modest individually, but the royalties for these books collectively come to almost $2,700.

He realized some $80,000 from Paramount for the cinema rights to An American Tragedy and, for a few years, lived in high style on the money. 10 Dreiser even managed during the depression to sell Jennie Gerhardt to Paramount for a 1933 cinema production, and he later marketed his sketch “My Brother Paul” to Twentieth Century-Fox for a 1942 movie based on the life of his brother Paul Dresser. These windfalls of movie money were welcome, all the more so because Dreiser could not have foreseen them when he cast out on his own in 1910.

3 In these slight sketches the young reporter did as much inventing as interviewing, and he began a lifelong practice of inserting himself, at times rather directly, in the biographical process. The Globe column caught the eye of the renowned editor of the St. Louis Globe-Democrat, Joseph B. McCullagh, whose coverage of Andrew Johnson’s impeachment is said to have created interview journalism. McCullagh hired Dreiser, who went on to write two similar series. In “Gossip of Chicago’s Big Show” Dreiser interviewed (and fabricated) visitors to the 1893 World’s Fair.

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