Umbrella (eBook)

Description

About the Author

Will Self is the author of six short-story collections, a book of novellas, eight novels, and six collections of journalism. He lives in London.

Praise for Umbrella…

Shortlisted for the 2012 Man Booker Prize

"In these culturally straitened times few writers would have the artistic effrontery to offer us a novel as daring, exuberant and richly dense as Umbrella. Will Self has carried the Modernist challenge into the twenty-first century, and worked a wonder."—John Banville

"Umbrella is his best book yet. . . . It makes new for today the lessons taught by the morals of Catch-22, Slaughterhouse-Five, The Tin Drum, also García Márquez’s Chronicle of a Death Foretold."—Alasdair Gray

“In prose uninterrupted by chapters or line breaks, a twisted version of the 20th century is woven and unpicked again. It is a postmodern vivisection of Modernism, analyzing the dream and the machine, war as the old lie and a new liberation, and rituals sacred, profane and banal. . . . a linguistically adept, emotionally subtle and ethically complex novel.”—The Guardian

“An ambitiously conceived and brilliantly executed novel in the high modernist tradition of James Joyce and Virginia Woolf . . . Its scope is dazzling . . . The switches between perspective and chronology are demanding (there are no chapters), but Self handles them with bravura skill, setting up imagery and phrases that echo suggestively between different episodes . . . Umbrella is an immense achievement.”—Financial Times

“A hot tip for the Booker prize, Will Self’s Joycean tribute is a stream of consciousness tour de force. . . . [It] builds into a heartbreaking mosaic, a sardonic critique of the woefully misdirected treatment of the mentally ill and the futility of war and, above all, a summation of the human condition. Despite the bleakness of the message, by the end you are filled with elation at the author’s exuberant ambition and the swaggering way he carries it all off, and then a huge sense of deflation at the realization that whatever book you read next, it won’t be anything like this.”–Daily Mail

“Umbrella is old-school modernism. It isn’t supposed to be a breeze. But it is, to use the literary critical term of art, kind of amazing … It may not be his easiest, but I think this may be Will Self’s best book.”–The Observer (London)

“Umbrella is a magnificent celebration of modernist prose, an epic account of the first world war, a frightening investigation into the pathology of mental illness, and the first true occasion when Self’s ambition and talent have produced something of real cultural significance. . . . [Umbrella] must be recognized as, above all, a virtuoso triumph of emotional and creative intelligence.”—The Spectator

“There is a contemplative quality to the prose that feels new . . . but the content remains familiar: a Swiftian disgust with the body; a fastidious querulousness about human sexuality; a forcing of attention on human frailty . . . Undoubtedly Self’s most considered novel, as much a new beginning as a consolidation of everything he has written to date.”–The Independent

“The Edwardian sections are the most lavishly engaging, with Self doing different voices like a schizophrenic music hall act. . . . In the course of the book the umbrella becomes a syringe, a penis, a fetish of the bourgeoisie, as one Edwardian socialist pompously declares it, and the novel itself an umbrella beneath whose canopy all manner of anxieties about technology and the body cram together.”–Daily Telegraph

“This is by far Will Self’s best novel; clever, intense, ambitious and risky.”—The Scotsman

“Umbrella is an astonishing achievement, a novel of exhilarating linguistic invention and high moral seriousness. . . . This is a novel which will be read and re-read, as much for its emotional weight as its technical virtuosity. . . . With this book he reveals himself as the most determinedly and delightfully literary novelist of his generation.”–Scotland on Sunday

“[Self] renders the texture of Audrey's London, its odors and colloquialisms, in vivid detail. . . . Perhaps in the story of Sacks' roused patients, Self saw a metaphor for his own attempts to resurrect the past, to give history a distinctive, earthy voice. In this he succeeds beautifully, writing with a new sophistication. The result is a stunning novel, and a compelling Self-reinvention.”–The Independent on Sunday

“There are echoes of Joyce and Eliot, but also of Flaubert. . . . Umbrella is a complexly textured, conceptually forbidding thesis about the modern, its art and their discontents. This being Self, though, there is also a great deal of humor, much of it to do with the dismal, drugged, inhuman pass to which Busner’s patients have come after decades in their psychiatric ‘jail within a jail.’”–New Statesman

“A surprisingly moving story of common people crushed by the state.”–Metro

“If the realist novel welcomes you in, takes your coat, hat (and umbrella), shows you to a comfortable seat and gets you a gin and tonic, this book leaves you to let yourself in, sit yourself down (if you can find room) and get your own bloody drink if you insist on having one.”–Scarlett Thomas, The Sunday Times

“Self fully embraces the fragmented and elliptical form with all its clutter and confusion, depth and dexterity. . . . Some passages trip off the tongue with a speed and ease that delights; others jar the senses. . . . Umbrella is epic in its scope.”—The National

“What Self most brilliantly does is to construct a world antic with new technologies (many of them as bogus as the robotic huckster Enigmarelle) but a world in which the most prolific industrial commodity is that formerly artisanal and lovingly crafted thing degraded by mass production and mass consumption: the human self.”–The Herald

“A work of unparalleled audacity, originality and utter perplexity . . . there are delightful tricks of language and linguistic acrobatics that take the reader by surprise.”–Irish Times

“Not only was Self the man for the job – writing this all-consuming, challenging book was probably something he could not help doing. . . . It is almost as if the book, fighting restrictive conventions, transcends its own, and its author’s, limits – physical, gender, literary – and opens up as a new structure, one of those ‘delicate and airy things’ whose ‘struts snap’ and ‘covers tear.’ It – he, she – may not be big enough to protect the whole of contemporary fiction from the elements, but is highly suitable for personal use.”–3:AM Magazine

“You have to salute Self’s determination to challenge literature’s conventions so boldly.”–The List