Antkind
A Novel
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- 3,99 €
Publisher Description
The bold and boundlessly original debut novel from the Oscar®-winning screenwriter of Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York.
LONGLISTED FOR THE CENTER FOR FICTION FIRST NOVEL PRIZE • “A dyspeptic satire that owes much to Kurt Vonnegut and Thomas Pynchon . . . propelled by Kaufman’s deep imagination, considerable writing ability and bull’s-eye wit."—The Washington Post
“An astonishing creation . . . riotously funny . . . an exceptionally good [book].”—The New York Times Book Review • “Kaufman is a master of language . . . a sight to behold.”—NPR
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR AND MEN’S HEALTH
B. Rosenberger Rosenberg, neurotic and underappreciated film critic (failed academic, filmmaker, paramour, shoe salesman who sleeps in a sock drawer), stumbles upon a hitherto unseen film made by an enigmatic outsider—a film he’s convinced will change his career trajectory and rock the world of cinema to its core. His hands on what is possibly the greatest movie ever made—a three-month-long stop-motion masterpiece that took its reclusive auteur ninety years to complete—B. knows that it is his mission to show it to the rest of humanity. The only problem: The film is destroyed, leaving him the sole witness to its inadvertently ephemeral genius.
All that’s left of this work of art is a single frame from which B. must somehow attempt to recall the film that just might be the last great hope of civilization. Thus begins a mind-boggling journey through the hilarious nightmarescape of a psyche as lushly Kafkaesque as it is atrophied by the relentless spew of Twitter. Desperate to impose order on an increasingly nonsensical existence, trapped in a self-imposed prison of aspirational victimhood and degeneratively inclusive language, B. scrambles to re-create the lost masterwork while attempting to keep pace with an ever-fracturing culture of “likes” and arbitrary denunciations that are simultaneously his bête noire and his raison d’être.
A searing indictment of the modern world, Antkind is a richly layered meditation on art, time, memory, identity, comedy, and the very nature of existence itself—the grain of truth at the heart of every joke.
PUBLISHERS WEEKLY
Screenwriter/director Kaufman's debut brims with screwball satire and provocative reflections on how art shapes people's perception of the world. While visiting St. Augustine, Fla., to research a book, B. Rosenberg, a pretentious film historian and critic, crosses paths with Ingo Cutbirth, an elderly former child actor who shows B. an unnamed film created with stop-motion puppetry that was 90 years in the making and takes three months to watch. B. appraises the film ("about the artifice of fiction and the paucity of truth in our culture," among many other things), as "the greatest cinematic masterpiece of perhaps all time." After Cutbirth dies, he bequeaths the film to B., who loses it in a car fire and spends the rest of the novel consulting with therapists, desperate to reconstruct his experience of the film. Along the way, B. suffers a series of comic setbacks in his career and personal life, which leave him wondering, "Where does the movie end and my mind begin?" The Pynchonesque scope of Kaufman's novel gives him liberty to have his opinionated narrator comment on innumerable cultural touchstones, especially in cinema, where B. throws shade with tongue firmly in cheek at filmmaker Charlie Kaufman, whom he derides as "a monster unaware of his staggering ineptitude." B.'s outsized personality and his giddily freewheeling experiences make this picaresque irresistible.
