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By Kurt Vonnegut Jr.

Long island occasions BESTSELLER

“[This] can be as shut as Vonnegut ever involves a memoir.”
Los Angeles Times

“Like [that of] his literary ancestor Mark Twain, [Kurt Vonnegut’s] crankiness is good-humored and sharp-witted. . . . [Reading A guy with out a Country is] like sitting down at the sofa for a protracted chat with an previous friend.”
–The long island instances ebook Review

In a quantity that's penetrating, introspective, incisive, and laugh-out-loud humorous, one of many nice males of letters of this age–or any age–holds forth on lifestyles, artwork, intercourse, politics, and the kingdom of America’s soul. From his coming of age in the United States, to his formative warfare stories, to his existence as an artist, this can be Vonnegut doing what he does top: Being himself. Whimsically illustrated through the writer, A guy and not using a Country is intimate, delicate, and brimming with the scope of Kurt Vonnegut’s passions.

“For all those that have lived with Vonnegut of their imaginations . . . this can be what he's like in person.”
USA Today

“Filled with [Vonnegut’s] ordinary contradictory mixture of pleasure and sorrow, wish and depression, humor and gravity.”
Chicago Tribune

“Fans will linger on each note . . . as once more [Vonnegut] captures the complexity of the human situation with lovely calligraphic simplicity.”
The Australian

“Thank God, Kurt Vonnegut has damaged his promise that he'll by no means write one other publication. during this wondrous assemblage of mini-memoirs, we find his family’s legacy and his obstinate, retro humanism.”
–Studs Terkel

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34 THE BRITISH TRADITION Viewed from this distance, these approaches seem unashamedly elitist;1 from their perspective, popular culture was to be deplored for its deficiencies – for its lack of ‘moral seriousness’ or aesthetic value. The mass culture of contemporary England was unfavourably compared to an earlier, albeit mythical, folk culture located in some past formation of the ‘garden of England’. Industrialization, mass communication and technology were all seen to be inimical to this earlier, more organic version of British existence; it was as if the entire twentieth century were intrinsically ‘anti-British’.

In many of the stories which appeared before the shift I am describing, the likelihood of his failure was already explained through the mythologies referred to above. However, this representational shift moves him into the orbit of a different set of explanatory myths. On the evidence of the texts we have been examining Karzai becomes a sign for the acceptable face of Afghan politics. Karzai is urbane, sophisticated and dressed in a fashionable style that indicates an internationalist orientation.

It is informed by myths of individualism as well as the connection between consumption and personal self-realization, which are among the central ideologies behind capitalism. You could not find an ideological context more central to Western mythologies, nor one that was more opposed to the Muslim fundamentalism of the Taliban regime. So this shift in Karzai’s representation carries important ideological and practical consequences. Since he is so unlike the media’s previous representation of his countrymen in these significant respects, the explanatory myth goes, he is more like ‘us’; if he is more like ‘us’, he is more trustworthy, more responsible, and more ‘civilized’ (and there is a wealth of assumptions in that description, too) than the ‘scruffs’ Sally Jackson described as typical.

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