Results 1 – 21 of 21 El Sha o la desmesura del poder. Kapuscinski, Ryszard. Published by Anagrama . (). ISBN / ISBN Ryszard Kapuściński was a Polish journalist, photographer, poet and author. He received many . In he edited and translated from the Spanish El diario del Che en Bolivia, the final literary bequest of Che Guevara. Kapuściński analyzed. Results 1 – 30 of Ryszard Kapuscinski. 01 Feb Paperback. US$ US$ Save US $ Add to basket · El Sha O La Desmesura del Poder.
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Return to Book Page. In Shah of Shahs Kapuscinski brings a mythographer’s perspective and a novelist’s virtuosity to bear on the overthrow of the last Shah of Iran, one of the most infamous of the United States’ client-dictators, who resolved to transform his country into “a second America in a generation,” only to be toppled virtually overnight. From his vantage point at the break-up of the o In Shah of Shahs Kapuscinski brings kapuscinsi mythographer’s perspective and a novelist’s virtuosity to bear on the overthrow of the last Shah of Iran, one of the most infamous of the United States’ client-dictators, who resolved to transform his country into “a second America in a generation,” only to be toppled virtually overnight.
Shah of Shahs by Ryszard Kapuściński
From his vantage point at the break-up of the old regime, Kapuscinski gives us a compelling history of conspiracy, repression, fanatacism, and revolution. Paperbackkapuscineki. Published February 4th by Vintage first published Iran, Islamic Republic of Persia.
To see what your friends thought of this book, please sign up. Wl ask other readers questions about Shah of Shahsplease sign up. Lists with This Book. Dice cose che faccio mie e riporto pari pari. Sul suo tavolo ci sono un pugno di fotografie, gli appunti degli ultimi mesi e la trascrizione di una serie di conversazioni svoltesi nei due anni precedenti.
Si tratta di provare a rimettere al loro posto le schegge di un discorso sul potere e sulle sue alterne vicende. Ovviamente senza accontentarsi di ricostruire la muta catena degli eventi. Rimasero sequestrati dal 4 novembre al 20 gennaio View all 5 comments. Nov 04, Douglas rated it really liked it. But this view, while correct, is one-sided.
After all, such conditions exist in a hundred countries, but revolutions erupt rarely. What is needed is the consciousness of poverty and the consciousness of oppression, and the kapuecinski that poverty and oppression are not the natural order of this world.
His writing is comparable to Ka;uscinski or Kafka. He goes beyond the simple observations and asks questions best answered by the human psyche. What lead them to this point? He shows how each person felt as a result of the great oppression by the Shah and how they began to gain confidence in groups and crowds, gathering steam in the safety and security of the mosques.
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I learned two major things from this book: I had no idea the United States was so heavily involved and supportive of the last Shah and its military and infrastructure. The people were not idiots. They knew who was supplying the Shah with weapons and power, and as a result, those that were oppressed kapyscinski resented the U. No wonder we were called the great satan.
What a terrible diplomatic blunder. Also, there was no infrastructure for learning, so the Shah had to import labor from all over the world to get things moving. This did not go over well. Overall, I enjoyed his style and readiness to go against the journalistic grain. It peaked my interest enough to want to explore this topic and history further. View all 17 comments. Sep 29, Gar Ver rated it it was amazing.
Thompson, and, kapuscinksi sacrilegiously to some, I also think the former deserves the fame and iconic recognition much more than the later. While Thompson was rightfully investigating the hardly veiled seedy underbelly of the American story, Kapuscinski was personally soaking in, on location, 27 revolutions in various third world countries. During his lifetime he was jailed 40 times and survived four death sentences. Shah of Shahs is about the revolutionary forces at work in Iran in the modern era, but specifically about the uprisings in the 50s and in Kapuscinski was in Tehran in the late 70s and early 80s, living in an otherwise vacant hotel during the revolts.
The book is kapusciinski like a cathedral triptych.
The opening and closing sections serve as thin yet devastating historical commentaries, while the middle section, the character development, is more tonal, ethereal. This section contains reflective and emotive responses to fragments of conversation overheard, photographs and newspaper clippings he xha, wads of crumbled paper with discreet scribblings, and anecdotes relayed directly.
With these scraps, Kapuscinski manages to quilt together, as accurately as he could, the overall mood of the country and the hearts of its men. The writing is intense, concise, and highly stylized. It’s not the kind of book you want to break up into too many readings. Finish it as fast as you can, because it’s all about feel. The best way I can describe it: Shah of Shahs is an incredibly moving, human account of two Iranian revolutions that ends with the sentence, “You are a poet.
Apr 10, Jessica rated it really liked it Shelves: In a brief exchange with Elizabeth just now about King Leopold’s GhostI admitted that books like that one make me feel I need a novel afterwards, to help me get back my equilibrium or faith in life and human beings or something like that. I really like nonfiction and in many ways I do prefer it — even if a nonfiction book’s not that great, when I’m done at least I’ve learned something, whereas reading a crappy novel usually just feels like wasted time.
But a diet of all nonficti In a brief exchange with Elizabeth just now about King Leopold’s GhostI admitted that books like that one make me feel I need a novel afterwards, to help me get back my equilibrium or faith in life and human beings or something like that.
But a diet of all nonfiction inevitably turns me into a neurotic semi-suicidal, semi-homicidal, neutron-bomb-craving misanthropic mess.
Nonfiction is about the truth, and, uh, well I can’t handle the truth! No one can, it just sucks too much. I’ll read about atrocities in the Congo, twentieth-century genocides, totalitarianism and state-sponsored torture And so that’s why we have art, to make sense of this shit, or momentarily to escape it, or just somehow to take the edge off and help us keep waking up in the mornings to confront such a world. Honestly, if it weren’t for fiction I’d probably break down into a blubbering, nonfunctional ball of gel on the floor just from thinking about how fucked up people are.
The way fiction prevents this is a mechanism I’m not going to get into, but it does, and that’s something for which I’m extremely grateful. Recently I’ve been reading a lot about Iran, in particular the Revolution and the hostage crisis. This is kind of hard, heavy stuff to be reading about, and for me what made this book great was the way that it ended. Its final passages did what literature does, but that straight reportage or nonfiction can rarely accomplish: That is, it made art, and Shah of Shahs I felt was notable for that: Jun 22, Hakan T rated it really liked it.
Jan 30, linhtalinhtinh rated it liked it Shelves: Kapuscinski does his best being a journalist, that is, reporting whatever he feels and sees in foreign lands, sharing with readers his very personal notes. Well, at least, that is part of his writing that I like. Yet in this book, he was trying to do something else: He was giving pieces of understanding of Iran, some brief account of the country’s history that goees up until the Iranian evolution and the deposition of the last Shah, using, for sure, a lot of secondary source Kapuscinski does his best being a journalist, that is, reporting whatever he feels and sees in foreign lands, sharing with readers his very personal notes.
He was giving pieces of understanding of Iran, some brief account of the country’s history that goees up until the Iranian evolution and the deposition of the last Shah, using, for sure, a lot of secondary sources and whatever knowledge he was able to accumulate before his actual presence in the country.
This knowledge didn’t come from his first-hand encounter with Muslim world. No, as far as I could detect, it was the preconceived impression that carried so much of the traditionally biased views of the “Orientals,” of Islamic world, developed by the West since the 18th century.
And so the book didn’t work well for me. Kapuscinski’s writings on Africa are great, perhaps because he was able to keep a somewhat fresher mind? For Iran, there was something amiss. It lacks the individuals, it lacks the personal observations and attachment. It lacks the very concrete “human” element. Instead, it is more like a general retelling, a big canvas that looks at the macro order and forgets the power of details. It’s still beautiful, can’t deny that. But I want more. The redeeming thing is that the author still keeps a very sympathetic heart with the people struggling with the question of development, of the future: Kapuscinski is a wonderful writer, a craftsman of words and ideas.
In true Polish fashion he writes short stories, brief passages in easy-to-glean chapters.
His style not only grew out of his training as a journalist, it was born for that profession. Through a series of photographs he describes the rise of the Pahlavis to the Peacock throne, from humble origins to powerful monarchs.
He describes the dream of Muhammad-Reza Kapuscinsii and demonstrates its flaws There is almost a sense of irony – this Pole writing home about a strictly controlled society with its censors and secret police, and the yearning for freedom in the soul There are those who have criticised Kapuscinski as a reporter; they have claimed that he made things up.
This may well be true but what he has rl us is a portrait that transcends reportage; vivid images that form the pattern that is woven in the rug. You spread a carpet on a wretched, parched desert, lie down on it, and feel you are lying in a green meadow