Strong Motion by Jonathan Franzen - PDF free download eBook

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Overview

The city of Boston is being rattled by earthquakes and rocked by anti-abortion protests when Louis Holland meets Renee Seitchek. Louis is an angry member of the Nowhere Generation; Renee is a passionate and embittered seismologist seven years his sen...

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Details of Strong Motion

ISBN
9781480518124
Publisher
Farrar, Straus and Giroux
Publication date
Age range
18+ Years
Book language
EN
Format
PDF, EPUB, FB2, RTF
Quality
High quality scanned pages

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Some brief overview of this book

The city of Boston is being rattled by earthquakes and rocked by anti-abortion protests when Louis Holland meets Renee Seitchek. Louis is an angry member of the Nowhere Generation; Renee is a passionate and embittered seismologist seven years his senior. Their love-hate love affair has scarcely begun when Renee begins to wonder: Could the earthquakes have a human cause? Jonathan Franzen, author of the acclaimed Twenty-Seventh City, has created an intoxicating, provocative vision of a society divided against itself and catastrophically at odds with nature.

A suspenseful, complex novel dealing with the issues of our day—environmental pollution, religious fundamentalism, abortion, and the threat of apocalypse. It is also a tender and fresh love story—a story of betrayal and redemption—from the author of The Twenty-Seventh City.

A few words about book's author

Jonathan franzen is also the author of the novels The Twenty-Seventh City and The Corrections. His fiction and nonfiction appear frequently in The New Yorker and Harper’s, and he was named one of the best American novelists under forty by Granta and The New Yorker. He lives in New York City.

Biography

Until his award-winning novel The Corrections was published in the fall of 2001, Jonathan Franzen was probably best known for a somewhat dyspeptic 1996 essay he wrote for Harpers entitled Perchance to Dream. In it, Franzen decried the state of modern American fiction and, by association, that of his own career. Part of Franzens frustration may have stemmed from the reception of his first two novels, The Twenty-Seventh City (1988) and Strong Motion (1992). Although both books showcased his formidable literary skills and earned respectful praise from critics, neither one sold well. He won a Whiting Writers Award for City and, in 1997, the British literary magazine Granta named him one of the 20 best American novelists under the age of 40. Still, major recognition seemed to elude him. All that changed with The Corrections, a sprawling tale of American family dysfunction that was immediately acclaimed a postmodern masterpiece. At long last, Franzen had found his voice, emerging from the pressure of trying to emulate his literary heroes Don DeLillo and William Gaddis. The New York Times Book Review called the novel marvelous; The New York Observer called it brilliant; and the Boston Globe called it smart and boisterous and beautifully paced. In short, The Corrections put Franzen on the literary map. A month later, Franzens star lost some of its luster, when he became embroiled in a public relations fiasco. Kingmaker Oprah Winfrey selected The Corrections for her popular Book Club, but when the author expressed his discomfort with the endorsement, the show quickly withdrew its certification. A vilified Franzen hastened to explain himself, the book was re-Oprahcized — and in a final salvo, Franzen wrote about the entire experience in a widely read New Yorker piece that only served to compound the controversy. As the line from his book goes, What made corrections possible also doomed them. No matter; what Franzen lost in Oprahs esteem he gained in untold sales from the publicity, and The Corrections went on to win the National Book Award. In 2002, a collection of Franzens cultural criticism (including the famous Oprah piece and a reworked version of Perchance to Dream) appeared under the title How to Be Alone, reaffirming his status as a writer of elegant nonfiction; and in 2006, he forayed into memoir with The Discomfort Zone, a self-lacerating look at his youth, his family, and the forces that shaped him into a writer.

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