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City Boy: My Life in New York During the 1960s and '70s (2009)

door Edmund White

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"City Boy" tells the story of White's years in 1970s New York, bouncing from intellectual encounters with Susan Sontag and Harold Brodkey to his erotic entanglements downtown to the city's burgeoning gay scene of artists and writers.
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1-5 van 25 worden getoond (volgende | toon alle)
Took me a while, but I finished! Good if you want to read about gay, literary NYC in the 60s and 70s. ( )
  bugenhageniii | Aug 6, 2022 |
There are so many of us.
  RODNEYP | Jul 23, 2021 |
Although I enjoyed this book, White's overuse of the regal "we" is a bit tiresome and he is definitely very New York centric, but after all it is about his life in New York City. For the person who would otherwise have zero knowledge of the pre-condom, pre-plague days this should be an eye opener. For those of us who lived through those times, it’s a fun romp into an almost forgotten past. Some juicy gossip and brutally honest post-mortems help provide a glimpse into the literary and artistic hub. ( )
  dbsovereign | Jan 26, 2016 |
City Boy é mais um volume auto-biográfico da autoria de Edmund White, um dos meus escritores preferidos. Tal como My Lives, trata-se de um livro de memórias, desta vez focalizado na vivência nova-iorquina do autor, durante os anos 60 e 70. De modo geral o livro organiza-se em torno de encontros de White com pessoas que foram influentes na sua vida. De um modo geral são escritores, mas nem todos (Robert Mapplethorpe, para dar um exemplo, não era), e se há um fio condutor neste volume é o trajecto de White para se tornar ele próprio um escritor publicado. O outro grande vector do livro é a sexualidade, ou mais correctamente a sexualidade homossexual masculina, quer enquanto percurso individual (White assume-se, sem remorso nem contrição, como um promíscuo), quer na forma como a homossexualidade era vivida nessas duas décadas especiais, quer, finalmente, no trajecto pelo reforço do direito à sexualidade dos gays, sobretudo no processo pós-Stonewall. Edmund White foi um protagonista dos principais eventos que marcaram o início do movimento de reivindicação dos direitos dos homossexuais (estava em Christopher Street, no Stonewall, no momento dos confrontos com a polícia), e o livro é igualmente testemunho do seu próprio processo de consciencialização identitária. White, de resto, não deixa de ligar o facto de ter descoberto a sua voz de escritor com o facto de ter descoberto que a parte da sua experiência humana que fazia sentido contar enquanto escritor estava directamente ligada à sua sexualidade.

O livro está cheio de histórias, de gossip, até de alguma maldadezinha, mas o que sempre surpreende em Edmund White é a sua candura, o modo como se expõe, e como nunca se furta ao juízo, quer dos outros, quer de si próprio. E a escrita do autor é, como sempre, muito simples e directa. Também aqui White defende uma teoria interessante: enquanto os seus colegas contemporâneos heterossexuais, cuja experiência pessoal era partilhada pela maioria das pessoas, precisavam de se refugiar no estilo para descobrirem a singularidade da sua voz autoral, aos escritores homossexuais bastava-lhes, para serem originais, contarem a sua própria experiência, justificando deste modo o facto de a sua escrita ser escorreita e simples. ( )
  innersmile | May 6, 2011 |
Deze bespreking is geschreven voor LibraryThing Vroege Recensenten.
I received this book in November and tried to read it then but couldn't get through it. I picked it up twice more before finally finishing it, and after all that effort to read the book I'm a little disappointed.

White spins an engaging story, mixing comic anecdotes with serious reflection on himself and his peers at a time of great change in their lives - but I just wasn't interested. An excessive amount of name dropping turned me off from the very beginning, and the rest of the book did little to change my impressions. I think White has a lot of interesting things to say, and overall is an insightful and talented writer - clearly, since he overcame the early writers' block he describes in the book to publish 23 books - but his prose here was clumsy, often repetitive and even gossipy in tone. I thought I would like that casual, 'have I got a story for you' feel - instead it made the book a difficult one for me to finish.

I understand that White's life and writing have been vastly impacted by the time and place in which his adult life began - there were times, however, many times throughout the book, where entire paragraphs read like a roster of the literary and cultural icons of his time. Good for him, for meeting and observing all of those people. But was that all he had to write about?" ( )
  smileydq | May 12, 2010 |
1-5 van 25 worden getoond (volgende | toon alle)
“City Boy” may lack some of the fineness and intensity of “My Lives,” which remains the essential Edmund White memoir, the one to read first. But this one is salty and buttery, for sure.
toegevoegd door Shortride | bewerkThe New York Times, Dwight Garner (Sep 30, 2009)
 
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In the 1970s in New York everyone slept till noon.
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"City Boy" tells the story of White's years in 1970s New York, bouncing from intellectual encounters with Susan Sontag and Harold Brodkey to his erotic entanglements downtown to the city's burgeoning gay scene of artists and writers.

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