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A twelve-year-old boy, middle son in a wealthy, politically and culturally prominent San Francisco family, watches his city disappear in the earthquake and fires of 1906. His father him that nothing has been lost that cannot be swiftly and easily replaced. He quotes Virgil: Nothing unreal is allowed to survive.” The boy turns this stark Stoic philosophical consolation” into the radical theater practices of the day, in the course of which he involves himself with radical labor struggles: anarchists, Wobblies, socialists of every stripe. He learns that politics is meta-acting, and he and his girlfrienda Connecticut mill girl who is on the verge of national recognition as a spokesperson for workersembark on a speaking tour with a Midwestern anti-railroad, pro-farmer group and take their political, philosophical, and artistic ethos to the farthest limits of the real and the unreal, where they find there is no useful distinction between the two.
In I Am Death: Bartleby the Mobster,” muckraking journalist Jack finds himself increasingly over the edge when he agrees to ghostwrite the autobiography of a Chicago mob boss. In Peasants,” publishing employee Walter Rasmussen discovers he’s the victim of sabotage by his coworkers or is he? As in his stunning debut, Visigoth, Gary Amdahl here isolates his characters in crisis and flux, drawing out their deepest fears. With its vivid wordplay and blend of black humor and pathos, I Am Death demonstrates that Amdahl is a most adept and honest guide into the modern psyche of the American male.
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