William T. Vollmann – författare

In A Table for Fortune, National Book Award-winner William T. Vollmann depicts from the balcony-level of history the last half-century of American politics, war, and life. At once a family drama, bildungsroman, and national epic, this 3,000+ page, four-part novel may be our most ambitious writer's most ambitious novel.

In A Table for Fortune, National Book Award-winner William T. Vollmann depicts from the balcony-level of history the last half-century of American politics, war, and life. At once a family drama, bildungsroman, and national epic, this 3,000+ page, four-part novel may be our most ambitious writer's most ambitious novel.

In A Table for Fortune, National Book Award-winner William T. Vollmann depicts from the balcony-level of history the last half-century of American politics, war, and life. At once a family drama, bildungsroman, and national epic, this 3,000+ page, four-part novel may be our most ambitious writer's most ambitious work. Parts 1 and 2 gather from the half-forgotten annals of the near-past –– Stasi documents, Iraqi newspaper articles, presidential radio addresses –– to form a vivid and mesmeric epic centered on Elliott Stevens, or DAVE, a CIA analyst whose glee at winning the Cold War is matched only by the dread that culminates in the nightmares of September eleventh and the resulting War on Terror. The hero of Parts 3 and 4 is Matthew Stevens, Elliott's son, whose efforts to divine the fate of his life and escape his parents result in homelessness, addiction, and perhaps even happiness. Spanning from 1968 to 2019, these volumes comb together –– with Vollmann's trademark generous wit and Olympian prose –– a staggeringly well-researched, definitive history of American post-war foreign policy with a deft, moving chronicle of a family's descent into resentment and gloom. Not since War and Peace have the internal lives of characters and the history of a nation been forged together in so forceful a study of causes, fate, and nationhood. Elliott and Matthew Stevens are “passengers within a divine bullet,” which, like Gogol's troika before it, overtakes all flying to its nation's end. This boxed set, with all four volumes in hardcover, allows the book to be read as intended: as one towering novel, the magnum opus of one of the giants of literature.

In 1543, the Polish astronomer Nicolaus Copernicus lay on his deathbed, reportedly holding his just-published masterpiece, The Revolutions of the Heavenly Spheres, in his hands. Placing the sun at the center of the universe, Copernicus launched modern science, leading to a completely new understanding of the universe, and humanity's place within it.But what did Copernicus really believe? Some argue that he anticipated the vast secularizing impact his ideas would have on history. Others contend that Copernicus was a man of his time and, on the whole, accepted its worldview. William T. Vollmann navigates this territory with the energetic prose and powerful intelligence for which he is known, providing a fresh and enlightening explication of Copernicus, his book, and his time, and the momentous clash between them.

In this landmark collection, William T. Vollmann offers a kaleidoscopic retrospective of the visual artwork he has produced over four decades, with new commentary from Vollmann on his process, inspiration, and the many intersections with his writing.The celebrated author of over twenty-five books (among them the National Book Award-wining novel Europe Central; the seven-volume Rising Up and Rising Down, based on Vollmann’s career as a war correspondent; and the two-volume climate change investigation Carbon Ideologies), Vollmann’s equally ambitious and prolific career as a photographer, printmaker, and painter reflects the artist’s deep interest in people existing on the margins, a profound empathy for his subjects, and the humility and generosity to meet them on their terms.Shadows of Love, Shadows of Loneliness includes Kodachrome slides of Afghan Mujahideen from 1982; a handmade watercolor sketchbook from Subarctic Canada, complete with inscriptions to Vollmann from local Inuit teenagers; gum bichromate prints of American landscapes from Maui to Mount Desert Island; silver gelatin portfolios of insurgents, refugees, prostitutes, police, and criminals all over the world; photogenic drawings of Tahitian women; transgender self-portraits of “Dolores”; Bible woodblock prints in which God and everyone else is female; acrylic paintings of California landscapes; cyanotypes, platinotypes, salt prints, and gold-toned Vandykes, to name just a few.Complementing these selections is a series of essays commissioned especially for this book to lay out Vollmann’s views on what photographs can and should say, how he chooses what to represent (beauty, suffering, compassion, love, desire, ideology), thoughts on photographic consensuality, and any number of technical descriptions. Particularly useful for Vollmann fans and scholars are the cross-references between these artistic and photographic projects and his books.