Magic Hours
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- 3,49 €
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- 3,49 €
Publisher Description
Award-winning essayist Tom Bissell explores the highs and lows of the creative process. He takes us from the set of The Big Bang Theory to the first novel of Ernest Hemingway to the final work of David Foster Wallace; from the films of Werner Herzog to the film of Tommy Wiseau to the editorial meeting in which Paula Fox's work was relaunched into the world. Originally published in magazines such as The Believer, The New Yorker, and Harper's, these essays represent ten years of Bissell's best writing on every aspect of creation—be it Iraq War documentaries or video-game character voices—and will provoke as much thought as they do laughter.
What are sitcoms for exactly? Can art be both bad and genius? Why do some books survive and others vanish? Bissell's exploration of these questions make for gripping, unforgettable reading.
PUBLISHERS WEEKLY
In essays spanning a decade, many previously published in Harper's and the Believer, Bissell (Extra Lives) peels back the layers of what it means to create and the toll creation often takes on its practitioners. While writers and writing are by no means his only subjects, Bissell is particularly astute when it comes to the arbitrary nature of literary fame. In "Unflowered Aloes" and "Grief and the Outsider," he considers the longevity of literary fame, and of works by the likes of Walt Whitman, Emily Dickinson, and Herman Melville that originally met with withering scorn. Bissell turns to the screen and his tiny hometown of Escanaba, Mich. in "Escanaba's Magic Hour," narrating both the evolution of a film shoot by "Movie People" (as outsiders, a common theme in the collection) and Bissell's own relationship with the town of his birth. Documentary film is explored in "Rules of Engagement," where the act of creating a compelling story here documentaries depicting the Iraq war is an exercise in both truth and fiction. Never pedantic or self-congratulatory, Bissell says that he never set out to write nonfiction, and perhaps it's this backdoor approach that makes his observations on craft and the many avenues that lead to the written word all the more powerful.
