Dave Eggers - You Shall Know Our Velocity

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You Shall Know Our Velocity: краткое содержание, описание и аннотация

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"Headlong, heartsick and footsore…Frisbee sentences that sail, spin, hover, circle and come back to the reader like gifts of gravity and grace…Nobody writes better than Dave Eggers about young men who aspire to be, at the same time, authentic and sincere." – The New York Times Book Review
"You Shall Know Our Velocity! is the work of a wildly talented writer… Like Kerouac's book, Eggers's could inspire a generation as much as it documents it." – LA Weekly
"There's an echolet of James Joyce there and something of Saul Bellow's Chinatown bounce, but we're carried into the narrative by a fluidity of line that is Eggers's own." – Entertainment Weekly
"Eggers is a wonderful writer, bold and inventive, with the technique of a magic realist." – Salon
"An entertaining and profoundly original tale." – San Francisco Chronicle
"Eggers's writing really takes off – his forte is the messy, funny tirade, stuffed with convincing pain and wry observations." – Newsday
"Often rousing…achieves a kind of anguished, profane poetry." – Newsweek
"The bottom line that matters is this: Eggers has written a terrific novel, an entertaining and imaginative tale." – The Boston Globe
"There are some wonderful set-pieces here, and memorable phrases tossed on the ground like unwanted pennies from the guy who runs the mint." – The Washington Post Book World
"Powerful… Eggers's strengths as a writer are real: his funny pitch-perfect dialog; the way his prose delicately captures the bumblebee blundering of Will's thoughts;… and the stream-water clarity of his descriptions… There is genius here… Who is doing more, single-handedly and single-mindedly, for American writing?" – Time
***
Because of Dave Eggers' experiences with the industry when he released his first book, he decided to publish this novel on his own. It is only available online or at Independent Bookshops. If you enjoy this book, please buy a copy… this is one of the few cases where the author really will recieve his fair share of the proceeds, and you will be helping a fledgling publishing house. This e-copy was proofed carefully, italics left intact. There is no synopsis on the book, so here are excerpts from a Salon.com review:
Will Chmlielewski, the hero and narrator of "You Shall Know Our Velocity," is seeking relief for his head, which, on the inside, has been badly affected by the death of a friend and, on the outside, has been beaten to a pulp by a band of toughs. Will moves through the novel with a badly bruised and scabbed face, which everyone keeps telling him – and he keeps telling everyone – will heal to its former condition. It's the same hope Will holds out for his mind. He can't sleep without alcohol or masturbation.
The plot of "You Shall Know Our Velocity" is best recounted swiftly, since it hinges on motion and speed. Will has a friend called Hand. After Jack's death in a car crash, they agree to make a six-day trip around the world – "six, six and a half" – flying from country to country and dispersing $80,000 to strangers, money that Will has suddenly come into and which plagues him with white, Western guilt.
On their way to nowhere in particular, Will and Hand cross paths and lock horns with a variety of exotics – peasants, prostitutes, elegant Frenchwomen in dark cafes – none of whom seem to want Will's money. He literally can't give it away. In the cities, it causes pandemonium and never less than a quick escape. In the country, among African subsistence farmers, it throws Will into confusion – about money, charity, justice, his motives and such. Sometimes he calls his mother, which is no help. In Senegal, a statuesque Parisian named Annette joins Will and Hand for a midnight swim and tells them that they live in "the fourth world," something Will can't understand.
If it sounds a bit sophomoric, it is. So is "On the Road." So was "Emile." A certain crabbed critic for a paper of record has complained about Eggers' "shaggy-dog plot" and "self-indulgent yapping," but I think she's showing her age. A writer is among us, however imperfect, and he'll only get better if we leave him alone.

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– Jesus, Jack, there would have to be a fucking reason that woman in London, that beautiful information woman, sent us here, right? When we were there it seemed random and we thought ha ha, we're in control, yes ha ha, we have a week and here we are why not – but then when we were on the plane, and landing in Tallinn, I had that feeling you always get when you've arrived somewhere unconscionable: you wonder what went wrong in the world to allow you to be there. You want to go back. You want to have never left home. You've made a mistake. Everyone's made a mistake. It's a nightmare. You want to have never left. You want to throw yourself back into your bed and then later spend the money on CDs. But you also hope that quickly you'll be told or reminded why you're there in the first place. At an airport I guess it would be if your relatives were waiting or something, your mother, your cousins, an aunt or uncle, nieces – you would see them, maybe your chubby little cousins, and they'd show you their homework or something and you'd know why you'd come. But I never had that kind of thing, you know that, and when we landed in Estonia, or any of those places, there was nothing, of course, no one waiting, and no one wanting us there, no one needing us. There wasn't one thread connecting us to anyone and we had to start threading, I guess, or else it would be just us, without any trail or web and if it was just us, ghosts, irrelevant and unbound, not people but only eyes, then there was something wrong. Something would feel wrong. I don't want it be just my eyes, do I, Jack?

– But I mean, $32,000? What kind of shit is that? What could that possibly mean? Jack at different times of my life I've wanted to be eyes only but I don't want to be eyes only. I want that knife at my throat, Jack, or holding the purses of the Moroccan girls so everyone can dance. And the $32,000 – I know you would think I was a fucking jackass, I know you would stare at me for a full minute, cleaning your teeth with your tongue in a way that threw my stupidity back at me but I do think it's worked, is starting to work. Intermittently it works.

– Jack at the top of the mountain we heard nothing, and there was no order. There wasn't even a line in the middle of the road. There were no homes, no animals even. But within the streets below, chasing and being chased, following and being followed, there was such order! Brilliant order! Not a doubt about any one moment-all was scripted, all was action. Reason! Purpose! A love born of caring that we were there! Even if their intent was to rob or maim or kill, they cared enough to give chase! There was reason to the butchers pushing their bloody carts under the windows of the homes within which young boys heard the knives, still sharp after quartering so many calves, and they knew their future. There was reason! And I wanted to be that boy in that room. I wanted to be in that room, safe, enclosed, thinking of a girl in a burqa walking on the outer streets of Marrakesh with her mother, smiling at strangers in a car. Smiling at strangers in a car from behind her burqa good God can you imagine! That was it, Jack, holy fuck! I want to be in that room, Jack, thinking of one day knowing a Charlotte – Fuck, Jack, when we were young did you ever think we could know a Charlotte, a Charlotte with the hair to there and flesh abundant everywhere, a Charlotte who could kill us with one low meaningful laugh? In that room over the streets full of knives there would be life because you were never far from the touch of a blade or the hot breath of your mother, her breath on your back, half-asleep behind you as you watched the painting of the sailboat on sawhorses and dreamed of a home on Saturn – See, there was order there in those narrow streets! There was a task at hand! There were people to touch and fight! People to touch and fight! Fuck, even fighting is better than that quiet up there – I want only to speed more through that narrow path, feeling squeezed, chasing and chased – every turn was our only option and that felt so good! – but as we climbed up the mountains there was nothing like that – we couldn't even see where we were, how high, how far it would be to fall.

And so we came back down. And so soon we were back in the warmth of that labyrinth, looking for anything – for a cop to stop us, to ask us about Chicago, for people giving Hand notes of the gentlest affection after we taught them the shopping cart… Shit, Jack, I don't know what that was, all that dancing – what we're allowed to do when we're looking for things we're required to do. What are we allowed to do when we're looking for things we're required to do?

– Jack I'm sorry. But we're not going up there again, to that mountain, or maybe any mountain, again.

"Help me up here." Hand clasped his fingers together, making a stirrup, and hoisted my foot. I caught the lowest branch of a sturdy fir tree and pulled myself up. I stood on the branch, this one the thickness of my leg and extended perpendicularly from the trunk. I was about nine feet up.

"Just jump from there," Hand said, looking up at me. "I'll catch you here. It'll be great."

"I'm serious. I'm going up."

"Don't."

"You know you've always wanted to do this."

"So? I'm me, you're you. You're a wreck."

I took the next few branches quickly. They were spaced conveniently, and in a minute I was about eighteen feet above ground. It was brighter here, closer to the moon, but my visibility was still low. I wasn't really sure where I'd jump to. I had another vision, this one involving Hand jumping at the same time, to my tree. I shared the idea with him.

"No," he said.

"Yes," I said.

In a few minutes Hand was at eye level with me, about twelve feet away. I could make out his form, though not the details of his face. We were picking out branches on the opposite trees – him to mine, mine to his – to lunge toward and grab. The idea was to leap and, like a gymnast would an uneven bar, grab a branch, one below our present level, and once secure, purposely and carefully fall the last twelve or so feet.

"You got a branch?" I asked.

"I think so. The one right below you."

I hoped it was a strong branch.

"Wait," I said, trying to inspect the limb below me. It was about twelve inches around. It looked strong. "Looks good," I said. "Is mine good?"

He did the same. "It looks strong," he said.

"Okay," I said. "I'm freezing. You ready?"

"No. Wait a sec," he said, blowing into his hands. "Okay."

"Okay."

"Shit," he said.

"I know."

"This is gonna hurt if we fall," he said.

"There's nothing sharp down there. All we can do is break bones."

"Don't land on your head, that'll be key."

"I know."

"You'll drag me out of here if I break something?" Hand asked.

"C'mon."

"Really."

"Sure."

"Good. Okay. Shit."

"Okay -"

"Man, this is like the helium," Hand said.

"What?"

"The helium. Didn't I tell you about that?"

"No. Let's go. Stop stalling."

"About Raymond and the helium and stuff?"

"No." He was maddening like this.

"We were in Senegal. I started telling you about it at one point. The day after."

"Can it wait? We should do this before our hands are too cold to grip."

"That's the point of the story."

"I know."

"No. I mean – Okay, forget it."

"On ten," I said, "we jump."

"We've wanted to do this since we were eight. You remember that?"

"That was from my roof to the tree, not tree to tree," I said. "Now shut up. Ten."

– Hand you need to do this.

"Nine."

– You fucking bastard this is for me.

"Eight," I said, my head humming. Could we get far enough across? We hadn't talked seriously about falling yet, the possibility of falling.

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