Imagen del editor
Título: Ghostwritten-SIGNED FIRST PRINTING
Editorial: Sceptre, London
Año de publicación: 1999
Encuadernación: Original Wraps
Condición del libro: Very Good
Condición de la sobrecubierta: No Jacket
Ejemplar firmado: Signed by Author
Edición: First Edition.
Very good first printing in original wrappers. The covers are clean but there is a diagonal blind crease running acorss the rear panel. Very light crease to top corner of front cover and lower corner of the first four pages. Some signs of shelfwear but generally a clean, unmarked copy. Signed by the author to the title page. Mitchell has also crossed through his name with a flourish. Still an attractive copy of a scarce book. As a keen collector myself I make every effort to provide a high level of service. Enquiries welcomed. Nearly 100 David Mitchell siigned first editions in stock. N° de ref. de la librería 005168
A magnificent achievement and an utterly engrossing experience, GHOSTWRITTEN is a novel set at the fugitive edges of Asia and Europe, and features a whole host of characters. An apocalyptic cult member carries out a gas attack on a rush-hour metro, but what connects him to a jazz buff in downtown Tokyo? A Mongolian gangster, a redundant English spy in Petersburg with a knack for forging masterpieces, a despondent "zookeeper", a nuclear scientist, a ghostwriter, a ghost, and a late night New York DJ whose hard boiled scepticism has been his undoing all also have tales to tell.
Add to this, saxophones and causality, Buddha, cherry blossoms, island cities, a mind unhooked from memory, the Trans Siberian Express, hidden narratives of the new world's order, circles and roulette in London, Baggins the Tarantula and a quantum computer born one century ahead of its time. All elements are interconnected and and each character must play their part as they are caught up in the inescapable forces of cause and effect.
Críticas: "What is real and what is not?": David Mitchell's first novel, Ghostwritten: A Novel in Nine Parts, plays with this question throughout its "parts". (That there are 10 sections is just part of the mystery of this book's schema.) Told through a range of voices, scattered across the globe--Tokyo, Hong Kong, Mongolia, Petersburg, London-- Ghostwritten has been described as a "firework display, shooting off in a dozen different narrative directions" (Adam Lively).
Certainly, Mitchell offers his readers a vertiginous, sometimes seductive, display of persona and place. "Twenty million people live and work in Tokyo," he writes in "Okinawa", the first section in the novel. "It's so big that nobody really knows where it stops." That sense of the global extension of the (post)modern city, the networks-- cultural, technological, phantasmagoric--to which it gives rise, is one key to this story of a Japanese death cult devoted to purging the "unclean" (gas attacks on the metro). "No, in Tokyo you have to make your place inside your head": that's how this immense world gets smaller, more subjective, more mad, as the narrator, Mr Kobayashi, sheds his "old family of the skin" to join a new "family of the spirit". It's a common theme. "I'm this person, I'm this person, I'm that person, I'm that person too," chants the voice of "Hong Kong", in the second section of the book. "No wonder it's all such a fucking mess." Neal's talking about his world, his life as a Hong Kong trader--"he's a man of departments, compartments, apartments"--but he might also be describing the experience of reading Ghostwritten. At once loquacious and knowing, leisurely and frantic, Mitchell offers his readers a huge, but fragmentary, portmanteau which builds in the links between its parts--aching bodies, reality police, the "ghost" writer in the machine of contemporary life, its mad, comic, and cosmic voices--without quite convincing you that they really do come together. -- Vicky Lebeau
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