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Produktbild: Hotel | Joanna Walsh
Produktbild: Hotel | Joanna Walsh
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Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.

During the breakdown of an unhappy marriage, writer Joanna Walsh got a job as a hotel reviewer, and began to gravitate towards places designed as alternatives to home. Luxury, sex, power, anonymity, privacy.hotels are where our desires go on holiday, but also places where our desires are shaped by the hard realities of the marketplace. Part memoir and part meditation, this book visits a series of rooms, suites, hallways, and lobbies-the spaces and things that make up these modern sites of gathering and alienation, hotels.

Object Lessons is published in partnership with an essay series in The Atlantic.

Inhaltsverzeichnis

Part I. Hotel Haunting

1. Hotel Haunting

Part II. Fragments from a Hysterical Suitcase

2. Hotel Freud

3. Marriage Postcards

4. Hometel

5. Hotel Diary

6. In A German Pension

7. The Talking Cure

8. Hotel Marx

9. Postcards from 26 Hotels

Notes

Acknowledgements

Index

Produktdetails

Erscheinungsdatum
05. November 2015
Sprache
englisch
Seitenanzahl
176
Reihe
Object Lessons
Autor/Autorin
Joanna Walsh
Verlag/Hersteller
Produktart
kartoniert
Gewicht
165 g
Größe (L/B/H)
165/121/17 mm
ISBN
9781628924732

Portrait

Joanna Walsh

Joanna Walsh is a writer based in England. Her work has been published by Granta, Dalkey (Best European Fiction 2015), Salt (Best British Short Stories 2014 and 2015), Tate, and others. Her books include Fractals (2013), and Vertigo (The Dorothy Project, 2015). She reviews for The Guardian, The New Statesman, and The National (UAE). She is fiction editor at 3:AM Magazine, and runs #readwomen, described by the New York Times as "a rallying cry for equal treatment for women writers." She is also an illustrator.

Pressestimmen

Walsh's writing has intellectual rigour and bags of formal bravery . . . Hotel is a boldly intellectual work that repays careful reading. Its semiotic wordplay, circling prose and experimental form may prove a refined taste, but in its deft delineation of a complex modern phenomenon - and, perhaps, a modern malaise - it's a great success. Financial Times

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