Dhalgren, English edition
(Sprache: Englisch)
In one of the most profound and bestselling science fiction novels of all time, Samuel R. Delany has produced a novel "to stand with the best American fiction of the 1970s" (Jonathan Lethem, bestselling author of Fortress of Solitude).
Bellona is...
Bellona is...
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In one of the most profound and bestselling science fiction novels of all time, Samuel R. Delany has produced a novel "to stand with the best American fiction of the 1970s" (Jonathan Lethem, bestselling author of Fortress of Solitude).Bellona is a city at the dead center of the United States. Something has happened there.... The population has fled. Madmen and criminals wander the streets. Strange portents appear in the cloud-covered sky. Into this disaster zone comes a young man poet, lover, and adventurer known only as the Kid.
Tackling questions of race, gender, and sexuality, Dhalgren is a literary marvel and groundbreaking work of American magical realism.
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Prism, Mirror, LensI
to wound the autumnal city.
So howled out for the world to give him a name.
The in-dark answered with wind.
All you know I know: careening astronauts and bank clerks glancing at the clock before lunch; actresses cowling at light-ringed mirrors and freight elevator operators grinding a thumbful of grease on a steel handle; student riots; know that dark women in bodegas shook their heads last week because in six months prices have risen outlandishly; how coffee tastes after you've held it in your mouth, cold, a whole minute.
A whole minute he squatted, pebbles clutched with his left foot (the bare one), listening to his breath sound tumble down the ledges.
Beyond a leafy arras, reflected moonlight flittered.
He rubbed his palms against denim. Where he was, was still. Somewhere else, wind whined.
The leaves winked.
What had been wind was a motion in brush below. His hand went to the rock behind.
She stood up, two dozen feet down and away, wearing only shadows the moon dropped from the viney maple; moved, and the shadows moved on her.
Fear prickled one side where his shirt (two middle buttons gone) bellied with a breeze. Muscle made a band down the back of his jaw. Black hair tried to paw off what fear scored on his forehead.
She whispered something that was all breath, and the wind came for the words and dusted away the meaning:
"Ahhhhh . . ." from her.
He forced out air: it was nearly a cough.
". . . Hhhhhh . . ." from her again. And laughter; which had a dozen edges in it, a bright snarl under the moon. ". . . hhhHHhhhh . . ." which had more sound in it than that, perhaps was his name, even. But the wind, wind . . .
She stepped.
Motion rearranged the shadows, baring one breast. There was a lozenge of light over one eye. Calf and ankle were luminous before leaves.
Down her lower leg was a scratch.
His hair tugged back from his forehead. He watched hers flung forward. She moved with her
... mehr
hair, stepping over leaves, toes spread on stone, in a tip-toe pause, to quit the darker shadows.
Crouched on rock, he pulled his hands up his thighs.
His hands were hideous.
She passed another, nearer tree. The moon flung gold coins at her breasts. Her brown aureoles were wide, her nipples small. "You. . . ?" She said that, softly, three feet away, looking down; and he still could not make out her expression for the leaf dappling; but her cheek bones were Orientally high. She was Oriental, he realized and waited for another word, tuned for accent. (He could sort Chinese from Japanese.) "You've come!" It was a musical Midwestern Standard. "I didn't know if you'd come!" Her voicing (a clear soprano, whispering . . .) said that some of what he'd thought was shadow-movement might have been fear: "You're here!" She dropped to her knees in a roar of foliage. Her thighs, hard in front, softer (he could tell) on the sides-a column of darkness between them-were inches from his raveled knees.
She reached, two fingers extended, pushed back plaid wool, and touched his chest; ran her fingers down. He could hear his own crisp hair.
Laughter raised her face to the moon. He leaned forward; the odor of lemons filled the breezeless gap. Her round face was compelling, her eyebrows un-Orientally heavy. He judged her over thirty, but the only lines were two small ones about her mouth.
He turned his mouth, open, to hers, and raised his hands to the sides of her head till her hair covered them. The cartilages of her ears were hot curves on his palms. Her knees slipped in leaves; that made her blink and laugh again. Her breath was like noon and smelled of lemons . . .
He kissed her; she caught his wrists. The joined meat of their mouths came alive. The shape of her breasts, her hand half on his
Crouched on rock, he pulled his hands up his thighs.
His hands were hideous.
She passed another, nearer tree. The moon flung gold coins at her breasts. Her brown aureoles were wide, her nipples small. "You. . . ?" She said that, softly, three feet away, looking down; and he still could not make out her expression for the leaf dappling; but her cheek bones were Orientally high. She was Oriental, he realized and waited for another word, tuned for accent. (He could sort Chinese from Japanese.) "You've come!" It was a musical Midwestern Standard. "I didn't know if you'd come!" Her voicing (a clear soprano, whispering . . .) said that some of what he'd thought was shadow-movement might have been fear: "You're here!" She dropped to her knees in a roar of foliage. Her thighs, hard in front, softer (he could tell) on the sides-a column of darkness between them-were inches from his raveled knees.
She reached, two fingers extended, pushed back plaid wool, and touched his chest; ran her fingers down. He could hear his own crisp hair.
Laughter raised her face to the moon. He leaned forward; the odor of lemons filled the breezeless gap. Her round face was compelling, her eyebrows un-Orientally heavy. He judged her over thirty, but the only lines were two small ones about her mouth.
He turned his mouth, open, to hers, and raised his hands to the sides of her head till her hair covered them. The cartilages of her ears were hot curves on his palms. Her knees slipped in leaves; that made her blink and laugh again. Her breath was like noon and smelled of lemons . . .
He kissed her; she caught his wrists. The joined meat of their mouths came alive. The shape of her breasts, her hand half on his
... weniger
Autoren-Porträt von Samuel R. Delany
After his seventh novel, Empire Star (1966), Samuel R. Delany began publishing short fiction professionally with The Star Pit. It appeared in Worlds of Tomorrow and was turned into a popular two-hour radio play, broadcast annually over WBAI-FM for more than a decade. Two tales, Aye, and Gomorrah and Time Considered as a Helix of Semi-Precious Stones, won Nebula Awards as the best science fiction short stories, respectively, of 1967 and 1969. Aye, and Gomorrah: And Other Stories contains all the significant short science fiction and fantasy works that Delany published between 1965 and 1988, excepting only those tales in his Return to Nevèrÿon series. A native New Yorker, Delany teaches English and creative writing at Temple University in Philadelphia. In July of 2002, he was inducted into the Science Fiction Hall of Fame.
Bibliographische Angaben
- Autor: Samuel R. Delany
- 2001, 816 Seiten, Maße: 20,193 cm, Kartoniert (TB), Englisch
- Verlag: Vintage, New York
- ISBN-10: 0375706682
- ISBN-13: 9780375706684
- Erscheinungsdatum: 03.03.2008
Sprache:
Englisch
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