David Shields – författare

The unabridged, downloadable audiobook edition of David Shields 2008 New York Times Bestseller, The Thing About Life Is That One Day You''ll Be Dead, read by the actor Peter Marinker.Mesmerized and somewhat unnerved by his 97-year-old father''s vitality and optimism, David Shields undertakes an original investigation of our flesh-and-blood existence, our mortal being.Weaving together personal anecdote, biological fact, philosophical doubt, cultural criticism, and the wisdom of an eclectic range of writers and thinkers - from Lucretius to Woody Allen - Shields expertly renders both a hilarious family portrait and a truly resonant meditation on mortality.An insightful, honest and uplifting portrait of what it means to be human, and one day to die.

The unabridged, downloadable audiobook edition of David Shields highly persuasive Reality Hunger: A Manifesto. Read by the actor Peter Marinker.Reality Hunger is a manifesto for a burgeoning group of interrelated but unconnected artists who, living in an unbearably artificial world, are breaking ever larger chunks of ''reality'' into their work. The questions Shields explores - the bending of form and genre, the lure and blur of the real - play out constantly around us, and Reality Hunger is a radical reframing of how we might think about this ''truthiness''.Reality Hunger questions every assumption we ever made about art, the novel, journalism, poetry, film, TV, rap, stand-up, graffiti, sampling, plagiarism, writing, and reading. Drawing on myriad stances, David Shields seeks to tear up the old culture in search of something new and more authentic.''One of the most provocative books I''ve ever read'' - Charles D''Ambrosio

“Reading How Literature Saved My Life is like getting to listen in on a really great, smart, provocative conversation. The book is not straightforward, it resists any single interpretation, and it seems to me to constitute nothing less than a new form.” ––Whitney Otto   In this wonderfully intelligent, stunningly honest, painfully funny book, acclaimed writer David Shields uses himself as a representative for all readers and writers who seek to find salvation in literature.   Blending confessional criticism and anthropological autobiography, Shields explores the power of literature (from Blaise Pascal’s Pensées to Maggie Nelson’s Bluets, Renata Adler’s Speedboat to Proust’s Remembrance of Things Past) to make life survivable, maybe even endurable. Shields evokes his deeply divided personality (his “ridiculous” ambivalence), his character flaws, his woes, his serious despairs. Books are his life raft, but when they come to feel un-lifelike and archaic, he revels in a new kind of art that is based heavily on quotation and consciousness. And he shares with us a final irony: he wants “literature to assuage human loneliness, but nothing can assuage human loneliness. Literature doesn’t lie about this––which is what makes it essential.”   A captivating, thought-provoking, utterly original way of thinking about the essential acts of reading and writing.

An impassioned, funny, probing, fiercely inconclusive, nearly-to-the-death debate about life and art—beers included.Caleb Powell always wanted to become an artist, but he overcommitted to life (he’s a stay-at-home dad to three young girls), whereas his former professor David Shields always wanted to become a human being, but he overcommitted to art (he has five books coming out in the next year and a half). Shields and Powell spend four days together at a cabin in the Cascade Mountains, playing chess, shooting hoops, hiking to lakes and an abandoned mine; they rewatch My Dinner with André and The Trip, relax in a hot tub, and talk about everything they can think of in the name of exploring and debating their central question (life and/or art?): marriage, family, sports, sex, happiness, drugs, death, betrayal—and, of course, writers and writing.The relationship—the balance of power—between Shields and Powell is in constant flux, as two egos try to undermine each other, two personalities overlap and collapse. This book seeks to deconstruct the Q&A format, which has roots as deep as Plato and Socrates and as wide as Laurel and Hardy, Beckett’s Didi and Gogo, and Car Talk’s Magliozzi brothers. I Think You’re Totally Wrong also seeks to confound, as much as possible, the divisions between “reality” and “fiction,” between “life” and “art.” There are no teachers or students here, no interviewers or interviewees, no masters in the universe—only a chasm of uncertainty, in a dialogue that remains dazzlingly provocative and entertaining from start to finish.James Franco''s adaptation of I Think You''re Totally Wrong into a film, with Shields and Powell striving mightily to play themselves and Franco in a supporting role, will be released later this year.

In October 2011, Jeff Ragsdale, a down-and-out actor and stand-up comedian, posted a flyer around Lower Manhattan, asking people to call him if they wanted to talk. He thought he’d get a dozen calls; instead, he got hundreds, then thousands once pictures of the flyer went viral on the net. They came from all over the country and from as far away as Spain, Saudi Arabia, Iraq, Taiwan, and Australia. Jeff spoke to as many people as he could, answering his phone all day long. Here are the conversations, texts, and voicemails of a particular moment in time—a hilarious, dark, intimate portrait of the way we live now.

In Dead Languages by David Shields, Jeremy Zorn''s mother tries unsuccessfully to coax him into saying "Philadelphia," and his life becomes framed by his unwieldy attempts at articulation. Through family rituals with his word-obsessed parents and sister, failed first love, an ill-fated run for class president, as the only Jewish boy on an otherwise all-black basketball team, all of the passages of Jeremy''s life are marked in some way by his stutter and his wildly off-the-mark attempts at a cure. It is only when he enters college and learns his strong-willed mother is dying that he realizes all languages, when used as hiding places for the heart, are dead ones.