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Signposts in a Strange Land: Essays Kindle Edition
- LanguageEnglish
- PublisherOpen Road Media
- Publication dateMarch 29, 2011
- File size3485 KB
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Product details
- ASIN : B004TLVNG6
- Publisher : Open Road Media (March 29, 2011)
- Publication date : March 29, 2011
- Language : English
- File size : 3485 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 450 pages
- Best Sellers Rank: #152,188 in Kindle Store (See Top 100 in Kindle Store)
- #6 in Religious Essays
- #120 in Essays (Kindle Store)
- #437 in Essays (Books)
- Customer Reviews:
About the author
Walker Percy (1916–1990) was one of the most prominent American writers of the twentieth century. Born in Birmingham, Alabama, he was the oldest of three brothers in an established Southern family that contained both a Civil War hero and a U.S. senator. Acclaimed for his poetic style and moving depictions of the alienation of modern American culture, Percy was the bestselling author of six fiction titles—including the classic novel The Moviegoer (1961), winner of the National Book Award—and fifteen works of nonfiction. In 2005, Time magazine named The Moviegoer one of the best English-language books published since 1923.
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The earliest essay in the book is from 1935, the latest from 1990. Most of the essays, and the best of the essays, are from 1968 through 1986. Not surprisingly, some of the essays are, in whole or in part, now rather dated. Percy's "essay voice" is relatively informal and easy to read, but he does not modulate it very much from piece to piece so that, when three or more pieces are read in succession, a measure of monotony creeps in.
Most of us, I suspect, believe we live in unusually unsettled and unsettling times. So it was with Percy too. He believed that "the modern world had ended" and that "society has been overtaken by a sense of malaise rather than exuberance, by fragmentation rather than wholeness." He further believed that the function of art was cognitive, and that the novelist's duty in these troubled times was to engage in a sort of diagnostic enterprise. That perspective informs the title of this collection of essays, which is further explicated in the following quote from Percy: "Instead of constructing a plot and creating a cast of characters from a world familiar to everybody, [the novelist] is more apt to set forth with a stranger in a strange land where the signposts are enigmatic but which he sets out to explore nevertheless."
Actually, from the retrospective vantage point of 2011, the terrain and many of the signposts encountered in this book are not so very strange. Still, it is a book worth reading, or at least dipping in and sampling. I was not converted by any of Percy's larger philosophical constructs, but many of his "smaller" and less abstract comments I found worth noting and marking in pencil (I always use pencil), including things he had to say about Charles Sanders Peirce, Soren Kierkegaard, William Faulkner, Herman Melville, Fyodor Dostoevsky, and his own novels (especially "The Moviegoer"). I also enjoyed a piece he wrote for "Esquire" on bourbon whiskey, which included the following paragraph:
"The pleasure of knocking back Bourbon lies in the plane of the aesthetic but at an opposite pole from connoisseurship. My preference for the former is or is not deplorable depending on one's value system--that is to say, how one balances out the Epicurean values of cultivating one's sensory end organs with the greatest discrimination and at least cost to one's health, against the virtue of evocation of time and memory and of the recovery of self and the past from the fogged-in disoriented Western world. In Kierkegaardian terms, the use of Bourbon to such an end is a kind of aestheticized religious mode of existence, whereas connoisseurship * * * is the aesthetic of damnation."
If that appeals to you, you are a potential reader of SIGNPOSTS IN A STRANGE LAND. If it doesn't, maybe you should steer clear. But I can vouch for Percy's recipe for mint juleps, which I tried out four days ago at a mini-family gathering after burying my aunt after her 96 years in this strange land.
However, Percy's engaging wit keeps the essays entertaining, and it is interesting to watch his fixations and how they change (or don't change) over time.
Of particular value is the discourse on semiotics, which is a nice primer to the uninitiated, but doesn't help one make heads or tails of Umberto Eco.
Still, I would recommend reading Percy's fiction before tackling this collection.