Michael Chabon Quote
Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic sound track constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books.
Airplane Dream #13' told the story, more or less, of a dream Rosa had had about the end of the world. There were no human beings left but her, and she had found herself flying in a pink seaplane to an island inhabited by sentient lemurs. There seemed to be a lot more to it -- there was a kind of graphic sound track constructed around images relating to Peter Tchaikovsky and his works, and of course abundant food imagery -- but this was, as far as Joe could tell, the gist. The story was told entirely through collage, with pictures clipped from magazines and books. There were pictures from anatomy texts, an exploded musculature of the human leg, a pictorial explanation of peristalsis. She had found an old history of India, and many of the lemurs of her dream-apocalypse had the heads and calm, horizontal gazes of Hindu princes and goddesses. A seafood cookbook, rich with color photographs of boiled crustacea and poached whole fish with jellied stares, had been throughly mined. Sometimes she inscribed text across the pictures, none of which made a good deal of sense to him; a few pages consisted almost entirely of her brambly writing, illuminated, as it were, with collage. There were some penciled-in cartoonish marginalia like the creatures found loitering at the edges of pages in medieval books.
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About Michael Chabon
born May 24, 1963) is an American novelist, screenwriter, columnist, and short story writer. Born in Washington, D.C., he spent a year studying at Carnegie Mellon University before transferring to the University of Pittsburgh, graduating in 1984. He subsequently received a Master of Fine Arts in creative writing from the University of California, Irvine.
Chabon's first novel, The Mysteries of Pittsburgh (1988), was published when he was 24. He followed it with Wonder Boys (1995) and two short-story collections. In 2000, he published The Amazing Adventures of Kavalier & Clay, a novel that John Leonard would later call Chabon's magnum opus. It received the Pulitzer Prize for Fiction in 2001.
His novel The Yiddish Policemen's Union, an alternate history mystery novel, was published in 2007 and won the Hugo, Sidewise, Nebula and Ignotus awards; his serialized novel Gentlemen of the Road appeared in book form in the fall of the same year. In 2012, Chabon published Telegraph Avenue, billed as "a twenty-first century Middlemarch", concerning the tangled lives of two families in the San Francisco Bay Area in 2004. He followed Telegraph Avenue in November 2016 with his latest novel, Moonglow, a fictionalized memoir of his maternal grandfather, based on his deathbed confessions under the influence of powerful painkillers in Chabon's mother's California home in 1989.
Chabon's work is characterized by complex language, and the frequent use of metaphor along with recurring themes such as nostalgia, divorce, abandonment, fatherhood, and most notably issues of Jewish identity. He often includes gay, bisexual, and Jewish characters in his work. Since the late 1990s, he has written in increasingly diverse styles for varied outlets; he is a notable defender of the merits of genre fiction and plot-driven fiction, and, along with novels, has published screenplays, children's books, comics, and newspaper serials.