Considered by some to be the greatest novel of the twenty-first century, Helen De Witt’s brilliant The Last Samurai tells the story of Sibylla, an Oxford-educated single mother raising a possible child prodigy, Ludo. Disappointed when he meets his biological father, the boy decides that he can do better. Inspired by Akira Kurosawa’s Seven Samurai, he embarks on a quixotic, moving quest to find a suitable father. The novel’s cult-classic status did not come easy: it underwent a notoriously tortuous publication process and briefly went out of print.
Lee Konstantinou combines a riveting reading of The Last Samurai with a behind-the-scenes look at De Witt’s fraught experiences with corporate publishing. He shows how interpreting the ambition and richness of De Witt’s work in light of her struggles with literary institutions provides a potent social critique. The novel helps us think about our capacity for learning and creativity, revealing the constraints that capitalism and material deprivation impose on intellectual flourishing. Drawing on interviews with De Witt and other key figures, Konstantinou explores the book’s composition and its history with Talk Miramax Books, the publishing arm of Bob and Harvey Weinstein’s media empire. He argues that The Last Samurai allegorizes its troubled relationship with the institutions and middlemen that ferried it into the world. What’s ultimately at stake in Ludo’s quest is not only who might make a good father but also how we might fulfill our potential in a world that often seems cruelly designed to thwart that very possibility.
Mục lục
Preface: The Last Samurai, Unread
1. A Little Potboiler
2. Helen De Witt’s Aesthetic Education
3. Synergy Is Crap
4. Fuck The Chicago Manual of Style
5. The Best Book of the Forty-Fifth Century
Coda: Through a Hole in the Wall
Acknowledgments
Notes
Index
Giới thiệu về tác giả
Lee Konstantinou is associate professor of English at the University of Maryland. His books include the novel
Pop Apocalypse (2009) and the literary history
Cool Characters: Irony and American Fiction (2016).
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