THE FLAMETHROWERS: A NOVEL BY RACHEL KUSHNER

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THE FLAMETHROWERS: A NOVEL BY RACHEL KUSHNER PDF

Be the very first who are reading this The Flamethrowers: A Novel By Rachel Kushner Based on some factors, reviewing this e-book will provide more benefits. Also you require to read it pointer by action, page by page, you could finish it whenever and wherever you have time. Again, this on the internet book The Flamethrowers: A Novel By Rachel Kushner will provide you easy of checking out time and also activity. It also provides the experience that is economical to get to and obtain considerably for much better life.

Amazon.com Review Guest Review of Flamethrowers

By Lauren Groff Every so often, you’ll come across a book that burns so hot and bright it’ll sear a shadow on your vision. For a while afterwards, everything you look at will have the book’s imprint on it; your world will be colored in the book’s tones, and you will glimpse the book’s characters on the street and feel your heart knocking in your chest for a few blocks, as if you’d escaped a close call. This is how I felt after I read Rachel Kushner’s brilliant The Flamethrowers. The night I finished it, I dreamt of racing motorcycles across sun-shot salt-flats and of floating in glimmering Italian swimming pools. In the morning, I tried to describe the book to a friend but I eventually faltered into silence. This is a beautiful book, I finally said, a book full of truth, a book about art and motorcycle racing and radicalism, about innocence and speed and stepping up to a dangerous brink, a book very deeply about the late seventies in New York City and its powerful blend of grittiness and philosophical purity. Oh, said my friend. So. What is it about? I tried again. I said: It’s a love story, about a young artist under the sway of an older, established artist, scion of a motorcycle family, who betrays her, and she joins up with an underground group in Italy. It feels like a contemporary European novel, philosophical and intelligent, with an American heart and narrative drive, I said. Oh, said my friend. Just read the book, I said and my friend did, and loved it to speechlessness, as well. Wow, is all he could say when he returned the book to me.

I don’t blame him. The truth is, this is a strange and mysterious novel, a subtle novel. Much of its power comes from the precision of Kushner’s language and how carefully she allows the flashes of perception to drive the narrative forward. See Reno, the offbeat narrator, describing ski racing to her lover, Sandro, saying, “Ski racing was drawing in time.” Suddenly you can see what she means, a body’s crisp slaloming down the white slope, the way the skier draws a perfect serpent down the clock. Or see Reno, racing her motorcycle: “Far ahead of me, the salt flats and mountains conspired into one puddled vortex. I began to feel the size of this place. Or perhaps I did not feel it, but the cycle, whose tires marked its size with each turn, did. I felt a tenderness for them, speeding along under me.” There is something deeply eerie happening under the words, something on the verge of tipping over and spilling out; and, at the same time, a gentleness and innocence at the core of all that noise and speed. Rachel Kushner is an unbelievably exciting writer, a writer of urgent and beautiful sentences and novels that are vast in their ambition and achievement. I finished it months ago, but The Flamethrowers—startling, radiant—still haunts me.

From Booklist *Starred Review* In her smash-hit debut, Telex from Cuba (2008), Kushner took on corporate imperialism and revolution, themes that also stoke this knowing and imaginative saga of a gutsy yet naive artist from Nevada. Called Reno when she arrives in New York in 1977, she believes that her art has “to involve risk,” but she’s unprepared for just how treacherous her entanglements with other artists will be. Reno’s trial-by-fire story alternates provocatively with the gripping tale of Valera, an Italian who serves in a motorcycle battalion in WWI, manufactures motorcycles, including the coveted Moto Valera, and makes a fortune in the rubber industry by oppressing Indian tappers in Brazil. These worlds collide when Reno moves in with Sandro Valera, a sculptor estranged from his wealthy family, and tries to make art by racing a Moto Valera on the Bonneville Salt Flats. Ultimately, Reno ends up in Italy, where militant workers protest against the Valeras. As Reno navigates a minefield of perfidy, Kushner, with searing insights, contrasts the obliteration of the line between life and art in hothouse New York with life-or-death street battles in Rome. Adroitly balancing astringent social critique with deep soundings of the complex psyches of her intriguing, often appalling characters, Kushner has forged an incandescently detailed, cosmopolitan, and propulsively dramatic tale of creativity and destruction. --Donna Seaman From Bookforum The Flamethrowers is about machines (motorcylces and guns, but also cameras) and the way they revolutionized the last century (its politics and violence, but also its art). In Telex From Cuba, Kushner took up a particular historical episode unwinding in a certain place and presented it from multiple angles. In The Flamethrowers, she's more concerned with a set of ideas and how they move through time, and especially where they end up. —Christian Lorentzen

THE FLAMETHROWERS: A NOVEL BY RACHEL KUSHNER PDF

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THE FLAMETHROWERS: A NOVEL BY RACHEL KUSHNER PDF

Named a Best Book of 2013 by The New York Times; Vogue; O, The Oprah Magazine; Time; Bookish; New York magazine; The New Yorker; Slate; Flavorwire; Publishers Weekly; Kirkus Reviews; Salon; and Complex. Rachel Kushner’s The Flamethrowers, a finalist for the National Book Award, was just named a Top Ten Book of 2013 by the New York Times Book Review and one of Time magazine’s top ten fiction books. Kushner’s first novel, Telex from Cuba, was also a finalist for a National Book Award and was reviewed on the cover of The New York Times Book Review. The Flamethrowers, even more ambitious and brilliant, is the riveting story of a young artist and the worlds she encounters in New York and Rome in the mid-1970s—by turns underground, elite, and dangerous. The year is 1975 and Reno—so-called because of the place of her birth—has come to New York intent on turning her fascination with motorcycles and speed into art. Her arrival coincides with an explosion of activity in the art world—artists have colonized a deserted and industrial SoHo, are staging actions in the East Village, and are blurring the line between life and art. Reno meets a group of dreamers and raconteurs who submit her to a sentimental education of sorts. Ardent, vulnerable, and bold, she begins an affair with an artist named Sandro Valera, the semi-estranged scion of an Italian tire and motorcycle empire. When they visit Sandro’s family home in Italy, Reno falls in with members of the radical movement that overtook Italy in the seventies. Betrayal sends her reeling into a clandestine undertow. The Flamethrowers is an intensely engaging exploration of the mystique of the feminine, the fake, the terrorist. At its center is Kushner’s brilliantly realized protagonist, a young woman on the verge. Thrilling and fearless, this is a major American novel from a writer of spectacular talent and imagination. ● ● ● ● ● ● ● ● ●

Sales Rank: #225606 in Books Brand: Brand: Scribner Published on: 2013-04-02 Released on: 2013-04-02 Original language: English Number of items: 1 Dimensions: 9.00" h x 1.30" w x 6.00" l, 1.21 pounds Binding: Hardcover 400 pages

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Amazon.com Review

Guest Review of Flamethrowers

By Lauren Groff Every so often, you’ll come across a book that burns so hot and bright it’ll sear a shadow on your vision. For a while afterwards, everything you look at will have the book’s imprint on it; your world will be colored in the book’s tones, and you will glimpse the book’s characters on the street and feel your heart knocking in your chest for a few blocks, as if you’d escaped a close call. This is how I felt after I read Rachel Kushner’s brilliant The Flamethrowers. The night I finished it, I dreamt of racing motorcycles across sun-shot salt-flats and of floating in glimmering Italian swimming pools. In the morning, I tried to describe the book to a friend but I eventually faltered into silence. This is a beautiful book, I finally said, a book full of truth, a book about art and motorcycle racing and radicalism, about innocence and speed and stepping up to a dangerous brink, a book very deeply about the late seventies in New York City and its powerful blend of grittiness and philosophical purity. Oh, said my friend. So. What is it about? I tried again. I said: It’s a love story, about a young artist under the sway of an older, established artist, scion of a motorcycle family, who betrays her, and she joins up with an underground group in Italy. It feels like a contemporary European novel, philosophical and intelligent, with an American heart and narrative drive, I said. Oh, said my friend. Just read the book, I said and my friend did, and loved it to speechlessness, as well. Wow, is all he could say when he returned the book to me. I don’t blame him. The truth is, this is a strange and mysterious novel, a subtle novel. Much of its power comes from the precision of Kushner’s language and how carefully she allows the flashes of perception to drive the narrative forward. See Reno, the offbeat narrator, describing ski racing to her lover, Sandro, saying, “Ski racing was drawing in time.” Suddenly you can see what she means, a body’s crisp slaloming down the white slope, the way the skier draws a perfect serpent down the clock. Or see Reno, racing her motorcycle: “Far ahead of me, the salt flats and mountains conspired into one puddled vortex. I began to feel the size of this place. Or perhaps I did not feel it, but the cycle, whose tires marked its size with each turn, did. I felt a tenderness for them, speeding along under me.” There is something deeply eerie happening under the words, something on the verge of tipping over and spilling out; and, at the same time, a gentleness and innocence at the core of all that noise and speed. Rachel Kushner is an unbelievably exciting writer, a writer of urgent and beautiful sentences and novels that are vast in their ambition and achievement. I finished it months ago, but The Flamethrowers—startling, radiant—still haunts me.

From Booklist

*Starred Review* In her smash-hit debut, Telex from Cuba (2008), Kushner took on corporate imperialism and revolution, themes that also stoke this knowing and imaginative saga of a gutsy yet naive artist from Nevada. Called Reno when she arrives in New York in 1977, she believes that her art has “to involve risk,” but she’s unprepared for just how treacherous her entanglements with other artists will be. Reno’s trial-by-fire story alternates provocatively with the gripping tale of Valera, an Italian who serves in a motorcycle battalion in WWI, manufactures motorcycles, including the coveted Moto Valera, and makes a fortune in the rubber industry by oppressing Indian tappers in Brazil. These worlds collide when Reno moves in with Sandro Valera, a sculptor estranged from his wealthy family, and tries to make art by racing a Moto Valera on the Bonneville Salt Flats. Ultimately, Reno ends up in Italy, where militant workers protest against the Valeras. As Reno navigates a minefield of perfidy, Kushner, with searing insights, contrasts the obliteration of the line between life and art in hothouse New York with life-or-death street battles in Rome. Adroitly balancing astringent social critique with deep soundings of the complex psyches of her intriguing, often appalling characters, Kushner has forged an incandescently detailed, cosmopolitan, and propulsively dramatic tale of creativity and destruction. --Donna Seaman From Bookforum The Flamethrowers is about machines (motorcylces and guns, but also cameras) and the way they revolutionized the last century (its politics and violence, but also its art). In Telex From Cuba, Kushner took up a particular historical episode unwinding in a certain place and presented it from multiple angles. In The Flamethrowers, she's more concerned with a set of ideas and how they move through time, and especially where they end up. —Christian Lorentzen Most helpful customer reviews 119 of 134 people found the following review helpful. Beautifully written, albeit often slow By J. A Magill Rachel Kushner writes beautifully. Time and again reading this novel you'll pause to admire a near-perfect sentence or to marvel at an innovative description or a simile that bursts with freshness. Consider for example this evocative passage: "It was the morning of the fourth of July and kids were lighting smoke bombs, sulfurous coils of red and green, the colors dense and bright like concentrated dye blooming through water." Wow. Hardly a page goes by which doesn't contain another such well polished gem. Unfortunately, extraordinary prose can only serve as a pillar for a novel, it can't be the entire foundation. Different readers rely on different aspects of a novel to carry the whole, but for me writing alone isn't enough. When it comes to "The Flamethrowers" other deficiencies of plot and character proved too weighty and subsumed the whole. Other reviewers and the description have summarized the novel's premise, but here is my take: a beautiful young woman -- the narrator -- recently out of college with a penchant for motorcycles and dreams of becoming an artist moves to New York from out west. She is nicknamed Reno for the city of her birth and quickly falls into the New York art scene of the late 70s. As a plot, this contains all of the needed ingredients for a fine novel. Yet "The Flamethrowers" depends on Reno captivating the reader. Time and again, she fails at this task for the simple reason that Reno spends so much time "observing" that she forgets, it seems, ever to make any genuine choices. Instead she drifts. She meets people and goes along with them, befriends this one and sleeps with that one, but she seems far more interested in giving us those surroundings than ever really engaging with the plot. The resulting novel often more drags than flows.

To be clear, her observations are often keen, but they feel as though they have less to do with the story and more to do with the author working towards a broader theme. The lives of the rich? Reno has penetrating insights on the irony that just as the wealthy once only ate the whitest white bread as a sign their bounty, now that everyone can eat it, they favor what they once would have considered peasant dark loaves. Likewise in art, Reno muses on the difference between those outside and those in, and how fluidly one can move over those lines. Yet these observations often feel like they are less authentically those of Reno groping to understand her strange new world, and more Kushner groping to offer deep insights. Perhaps no where is this issue more acute than in the novel's portrayal of New York's SOHO neighborhood in transition. As with the plot, this novel's SOHO feels oppressively thin, more concept than living breathing cultural nexus. Contrast this, for example, with the same neighborhood offered in the same period in Irini Spanidou's "Before" where one gets a sense of the place's real vibrancy. Instead one gets the sense that the setting is offered more as a point of contrast to the modern world and a point of commentary, a movie lot set. In a way, Reno as a character suffers from a similar problem: she is more a collection of attributes than an a recognizable whole, more carefully constructed cypher than someone who leaps into the reader's mind. On the power of her prose alone -- not to mention the strength of her wonderful debut "Telex From Cuba" -- I will eagerly await Kushner's next novel. "Telex" left my heart pounding with a story I couldn't put down. Unfortunately, with "The Flamethrowers" that same heart rarely even quickened as I trudged my way to the end. 76 of 88 people found the following review helpful. Smolders more than rages By Sean Rueter The Flamethrowers was a challenging but ultimately rewarding read for me. Kushner's prose is beautiful; among the best I've read. But the main narrator (who I guess is called Reno, but I really only recall one character referring to her as that) is a bit of a blank slate. While it becomes clear why the author has made this choice later on, it made it tough for me to connect to her or the novel at various points. The other issue I had with becoming fully invested in the work was that it at times feels like a collection of essays. I'm not talking about the occasional temporal shifts to the history of the Valera family/corporation. There are passages where one of the characters that "Reno" is observing will rant or wax about some topic or another. These are wonderfully written and contain smart points and clever turns of phrase, but sometimes left me scratching my head after a few pages. But, like the narrator's cryptic viewpoint, this does reveal itself to be thematically relevant later on. Rachel Kushner has many valuable things that she says with this novel - about art, and gender, and identity...among other things. This review sounds a little more negative than I meant it to, but its purpose is to encourage readers to stick with a sometimes difficult read. I know that I'm glad that I did. 16 of 16 people found the following review helpful. It just seems empty inside.... By gammyraye The love interest of the protagonist in this 2013 novel is an artist, whose artistic creations are described in this way: "...large aluminum boxes, open on top, empty inside, so bright and gleaming

their angles melted together....objects that shone like liquid silver." That description summarizes the impact of this novel, in my mind. The writing is bright and gleaming and shines, with numerous striking descriptions and similes (although sometimes self consciously clever and strained) and a whole series of fascinating little set pieces. It is structured like a classic bildungsroman, or coming-of-age story, yet, contrary to expectations, the young protagonist does not seem to mature or change despite all her unusual experiences. Throughout, she reacts rather than acts, letting others determine for her. She seems anonymous (her real name is never given) and empty inside, making the whole novel seem pointless and empty, although polished and well written (for the most part). The plot goes something like this: the young lady protagonist heads to New York City in the '70s, following her graduation from college in Nevada, where she falls in with the progressive art crowd who are all hip and cool and smart talking. She takes a lover, who happens to be the disengaged son of an Italian industrialist who manufactures motorcycles; she races one of the cycles manufactured by her lover's family on the salt flats of Utah; she rather accidentally becomes the holder of the world land speed record in a race car; she journeys with her lover to Italy, where she meets his snotty family; she becomes accidentally involved in the radical movement in Italy; she returns to New York, where she seems to have learned nothing at all about herself or the world. Author Kushner cleverly provides several motifs and symbols throughout, but in the end we are left with characters who show no change and elicit no sympathy and a narrative with interesting parts which lead nowhere. It's just....empty. This novel was a finalist for the 2013 National Book Award and is considered a contender for the 2014 Pulitzer Prize. Most reviews have been positive. So I am out of line with the crowd on this one. Take that into consideration. You know, now that I think about it, maybe the pointlessness was the point. Is that possible? See all 340 customer reviews...

THE FLAMETHROWERS: A NOVEL BY RACHEL KUSHNER PDF

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By Lauren Groff Every so often, you’ll come across a book that burns so hot and bright it’ll sear a shadow on your vision. For a while afterwards, everything you look at will have the book’s imprint on it; your world will be colored in the book’s tones, and you will glimpse the book’s characters on the street and feel your heart knocking in your chest for a few blocks, as if you’d escaped a close call. This is how I felt after I read Rachel Kushner’s brilliant The Flamethrowers. The night I finished it, I dreamt of racing motorcycles across sun-shot salt-flats and of floating in glimmering Italian swimming pools. In the morning, I tried to describe the book to a friend but I eventually faltered into silence. This is a beautiful book, I finally said, a book full of truth, a book about art and motorcycle racing and radicalism, about innocence and speed and stepping up to a dangerous brink, a book very deeply about the late seventies in New York City and its powerful blend of grittiness and philosophical purity. Oh, said my friend. So. What is it about? I tried again. I said: It’s a love story, about a young artist under the sway of an older, established artist, scion of a motorcycle family, who betrays her, and she joins up with an underground group in Italy. It feels like a contemporary European novel, philosophical and intelligent, with an American heart and narrative drive, I said. Oh, said my friend. Just read the book, I said and my friend did, and loved it to speechlessness, as well. Wow, is all he could say when he returned the book to me. I don’t blame him. The truth is, this is a strange and mysterious novel, a subtle novel. Much of its power comes from the precision of Kushner’s language and how carefully she allows the flashes of

perception to drive the narrative forward. See Reno, the offbeat narrator, describing ski racing to her lover, Sandro, saying, “Ski racing was drawing in time.” Suddenly you can see what she means, a body’s crisp slaloming down the white slope, the way the skier draws a perfect serpent down the clock. Or see Reno, racing her motorcycle: “Far ahead of me, the salt flats and mountains conspired into one puddled vortex. I began to feel the size of this place. Or perhaps I did not feel it, but the cycle, whose tires marked its size with each turn, did. I felt a tenderness for them, speeding along under me.” There is something deeply eerie happening under the words, something on the verge of tipping over and spilling out; and, at the same time, a gentleness and innocence at the core of all that noise and speed. Rachel Kushner is an unbelievably exciting writer, a writer of urgent and beautiful sentences and novels that are vast in their ambition and achievement. I finished it months ago, but The Flamethrowers—startling, radiant—still haunts me.

From Booklist *Starred Review* In her smash-hit debut, Telex from Cuba (2008), Kushner took on corporate imperialism and revolution, themes that also stoke this knowing and imaginative saga of a gutsy yet naive artist from Nevada. Called Reno when she arrives in New York in 1977, she believes that her art has “to involve risk,” but she’s unprepared for just how treacherous her entanglements with other artists will be. Reno’s trial-by-fire story alternates provocatively with the gripping tale of Valera, an Italian who serves in a motorcycle battalion in WWI, manufactures motorcycles, including the coveted Moto Valera, and makes a fortune in the rubber industry by oppressing Indian tappers in Brazil. These worlds collide when Reno moves in with Sandro Valera, a sculptor estranged from his wealthy family, and tries to make art by racing a Moto Valera on the Bonneville Salt Flats. Ultimately, Reno ends up in Italy, where militant workers protest against the Valeras. As Reno navigates a minefield of perfidy, Kushner, with searing insights, contrasts the obliteration of the line between life and art in hothouse New York with life-or-death street battles in Rome. Adroitly balancing astringent social critique with deep soundings of the complex psyches of her intriguing, often appalling characters, Kushner has forged an incandescently detailed, cosmopolitan, and propulsively dramatic tale of creativity and destruction. --Donna Seaman From Bookforum The Flamethrowers is about machines (motorcylces and guns, but also cameras) and the way they revolutionized the last century (its politics and violence, but also its art). In Telex From Cuba, Kushner took up a particular historical episode unwinding in a certain place and presented it from multiple angles. In The Flamethrowers, she's more concerned with a set of ideas and how they move through time, and especially where they end up. —Christian Lorentzen

Be the very first who are reading this The Flamethrowers: A Novel By Rachel Kushner Based on some factors, reviewing this e-book will provide more benefits. Also you require to read it pointer by action, page by page, you could finish it whenever and wherever you have time. Again, this on the internet book The Flamethrowers: A Novel By Rachel Kushner will provide you easy of checking out time and also activity. It also provides the experience that is economical to get to and obtain considerably for much better life.