Chicago
A Novel
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٣٫٤ - ١٤ من التقييمات
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- 18٫99 US$
وصف الناشر
A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago—a city where some people knew too much, and where everyone should have known better—by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prize–winning playwright of Glengarry Glen Ross.
Mike Hodge—veteran of the Great War, big shot of the Chicago Tribune, medium fry—probably shouldn’t have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge.
In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City’s underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring—as no other writer can—questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.
PUBLISHERS WEEKLY
Playwright Mamet returns to the scene of one of his greatest successes, the screenplay for Brian De Palma's The Untouchables, with his new novel, set in Chicago during Prohibition in the 1920s. Mike Hodge is a veteran pilot of the Great War and current reporter for the Tribune. In a very Mamet touch, the book begins with a literary conversation between Mike and fellow reporter Clement Parlow in a duck blind. But in no time, Mike is racing off to find the killer of his girlfriend, Annie Walsh. All he has to go on is a fuzzy photo of two unknown men at the funeral of nightclub owner Morris Teitelbaum, so Mike cuts a swath through gangland Chicago. All this is basically just an excuse for the author to exercise his patented talent with dialogue ("There's this to say for a broken heart, it keeps your weight down"). Unfortunately, this works better in his plays than here, where the highly charged conversations slow down the haphazardly plotted story. But Mike proves himself the spiritual kin of Chicago reporter Hildy Johnson from Hecht and MacArthur's The Front Page, and Mamet's Chicago setting is immersively evoked.
