Stranded In The Future
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Stranded In The Future
ナレーター：
Robyn Hitchcock
￥3,400で今すぐ予約注文する
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ナレーター：
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Robyn Hitchcock
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著者：
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Robyn Hitchcock
'British singer-songwriter Hitchcock wistfully reflects on boarding school and the music that shaped him in this captivating chronicle of the year he credits with sculpting his artistic sensibility . . . Readers need not be fans of Hitchcock's music to find this enchanting.' ―Publishers Weekly, on 1967
'Memoirists rarely begin their work with a stroke of genuine inspiration, and Robyn Hitchcock's ingenious idea to limit his account of his life to the titular year gives this sharp, funny, finely written book an unusually keen, wistful intensity without sacrificing its sense of the breathtaking sweep of time. I absolutely adored every line of 1967 and every moment I spent reading it.' ―Michael Chabon, author of Telegraph Avenue, on 1967
STRANDED IN THE FUTURE is a kind of dystopian self-portrait. It's about obsession, and obsessive behaviour. Spanning from 1968 to 1978, it takes in the mythology surrounding Pink Floyd's Syd Barrett (though it doesn't name him) and hinges on Robyn Hitchcock's teenage girlfriend (she isn't named either). The book explores the way that Hitchcock, in his own head, linked these two figures to each other, although they never actually met.
On the way, the story mines the incremental hangover of the 1970s as Hitchcock begins to play live, teaches himself to write songs, and eventually forms the Soft Boys. There's a side order of trolleybuses too! Hitchcock's beautiful prose will resonate far beyond the fans of his music, and build on the literary following he established with his first book, 1967: How I Got There and Why I Never Left.
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批評家のレビュー
Incredibly enough, when decades ago I first swooned for the Soft Boys and their shambolic leader, I said to myself and anyone who'd listen, "This is the sole psychedelic musician I can imagine writing not one, but actually two witty, self-effacing, phantasmagorical autofictional memoirs in quick succession as he rounds into late middle age." Even more incredibly, I have been completely vindicated in this left-field speculation, and we are all the better for it, as Stranded in the Future has capitalized on the opportunities opened by 1967's close focus on that single year of boyish self-invention and vaulted us into the next act, in which mannish boy becomes boyish man. Now our correspondent only has to repeat this astonishing trick ten more times to complete his imperishable twelve-volume epic A Dance to the Music of Hitchcock (Jonathan Lethem, author of Brooklyn Crime Novel)
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