Will Self

Will Self

סופר


1.
One of contemporary fiction’s most “wickedly brilliant…endlessly talented” (Publishers Weekly) satirists delivers a dystopian novel skewering global politics and Big Brother-style government post-9/11.

When Tom Brodzinksi tries to give up smoking, he inadvertently sets off a chain of events that threaten to upset the tenuous balance of peace in a not-too-distant land. When he flips the butt of his final cigarette off the balcony of his vacation apartment, it lands on elderly Reggie Lincoln, lounging on the balcony below. Lincoln suffers a burn, and the local authorities charge Tom with assault—in a country with draconian anti-smoking laws, a cigarette is a weapon of offense. For reparation, Tom must leave his family behind and wander through the arid center of the country’s deserted territory. Joining Tom on his journey is Brian Prentice, a mysteriously sinister presence, who has his own sins to make up for. Inevitably, the two men encounter violence, forcing them to come together despite their seething mistrust. A profoundly disturbing allegory, The Butt reveals the heart of a distinctly modern darkness.

Will Self is the acclaimed author of such books as The Quantity Theory of Insanity, Great Apes, How the Dead Live, The Book of Dave, and Psychogeography. He won the Geoffrey Faber Memorial Prize and was shortlisted for the Whitbread.

One of contemporary fiction’s most “wickedly brilliant…endlessly talented” (Publishers Weekly) satirists, Will Self, delivers a dystopian novel skewering global politics and Big Brother-style government post-9/11.

When Tom Brodzinksi tries to give up smoking, he inadvertently sets off a chain of events that threaten to upset the tenuous balance of peace in a not-too-distant land. When he flips the butt of his final cigarette off the balcony of his vacation apartment, it lands on elderly Reggie Lincoln, lounging on the balcony below. Lincoln suffers a burn, and the local authorities charge Tom with assault—in a country with draconian anti-smoking laws, a cigarette is a weapon of offense. For reparation, Tom must leave his family behind and wander through the arid center of the country’s deserted territory. Joining Tom on his journey is Brian Prentice, a mysteriously sinister presence, who has his own sins to make up for. Inevitably, the two men encounter violence, forcing them to come together despite their seething mistrust. A profoundly disturbing allegory, The Butt reveals the heart of a distinctly modern darkness.

“Though Self's landscape is his own invention, Brodzinski's odyssey parallels the Coalition of the Willing's misadventures in Iraq and bears a strong resemblance to Joseph Conrad's Heart of Darkness... There's far too much going on in this wicked satire to filter it down to a single set of references, but Self is interested in exploring why we do things that we know are bad. Sometimes it's what we do (going to war); sometimes it's what we don't do (looking the other way when people are being enslaved). Self's shocking conclusion amounts to a scathing indictment that will leave many readers wondering if they too are guilty of the habit.”—Jim Ruland, Los Angeles Times

“From Self, the British master of the satirical fantasy, comes a loquacious and inventive farce about the demise of civilization.Tom Brodzinski, relaxing on vacation in the postcolonial Feltham Islands, sets off a string of unfortunate events when he flicks a cigarette butt off his hotel balcony. It lands on the scalp of tourist Reginald Lincoln III. Reggie’s happy to laugh it off, but things slide from bad to worse when Reggie is hospitalized and Tom is charged with assault with 'a projectile weapon with a toxic payload.' After a chaotic trial, Tom is ordered to pay a restitution of two good hunting 'riffles,' a set of 'coking pots' and $10,000. The catch is that the restitution needs to take place in the tribal heartland. This launches Tom and Brian Prentice, another foreign transgressor (Tom suspects pedophilia), on an expedition of Conradian proportions . . . Self confirms his reputation for pulling off cleverly modeled literary experiments . . . Self successfully presents an ironic and timely metaphor for our post-9/11 Bigger Brother world.” Publishers Weekly (starred review)

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2.
British satirist Will Self spins four interconnected stories into a brilliantly insightful commentary on human foibles and resilience.

Will Self’s remarkable new stories center on the disease and decay that target the largest of human organs: the liver. Set in locales as toxic as a London drinking club and mundane as a clinic in an ultraorderly Swiss city, the stories distill the hard lives of their subjects whether alcoholic, drug addict, or cancer patient. I n “Fois Humane,” set at the Plantation Club, it’s always a Tuesday afternoon in midwinter, and the shivering denizens of this dusty realm spend their days observing its proprietor as he force-feeds the barman vodkaspiked beer. Joyce Beddoes, protagonist of “Leberknödel,” has terminal liver cancer and is on her way to be euthanized in Zurich when, miraculously, her disease goes into remission. In “Prometheus” a young copywriter at London’s most cutting edge ad agency has his liver nibbled by a griffon thrice daily, but he’s always in the pink the following morning and ready to make that killer pitch. If blood and bile flow through liverish London, the two arteries meet in “Birdy Num Num,” where “career junky” Billy Chobham performs little services for the customers who gather to wait for the Man, while in his blood a virus pullulates. A moving portrayal of egos, appetites and addictions, Liver is an extraordinary achievement.
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3.
“John Gray meets Joseph Conrad, Apocalypse Now meets Graham Greene, Russell Hoban meets Mad Max, J. G . Ballard meets himself. From the flip of the butt onward, Sartre presides over it all.”—Guardian

When Tom Brodzinksi flicks his last cigarette out of his hotel window, he inadvertently sets off a chain of events that threaten to upset the tenuous balance of peace in a not-too-distant dystopian land…A profoundly disturbing allegory, The Butt reveals the heart of a distinctly modern darkness.
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4.
Building on their first successful collaboration, more Self and Steadman on the oddities of place in the contemporary world.

Will Self’s satiric eye and hyperactive prose meet once again with Ralph Steadman’s manic hand and effulgent color, creating the coveted sequel to their collaboration Psychogeography: here is Psycho Too. In this energetic romp through an all-new landscape, Self and Steadman further explore the effects of our geographical environment—natural, man-made, or man-manipulated—on our emotions and behavior, and the interplay of surroundings and self.

In the introductory essay, Self sets out to walk the entire length of Britain—or, more precisely, a Britainshaped island off the coast of Dubai, part of the artificial archipelago of private isles replicating, in miniature, all the world’s landmasses. Fifty additional short essays cover terrain from Istanbul to Los Angeles, East Yorkshire to Easter Island, all accompanied by Steadman’s inimitable illustrations. Psycho Too is a dazzling guide to the wheres and wherefores of the way we live now.
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