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The Shadow of the Sun de Ryszard Kapuscinski
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The Shadow of the Sun (1998 original; edició 2002)

de Ryszard Kapuscinski (Autor)

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1,883467,144 (4.23)76
In 1957, Ryszard Kapuscinski arrived in Africa to witness the beginning of the end of colonial rule as the first African correspondent of Poland's state newspaper. From the early days of independence in Ghana to the ongoing ethnic genocide in Rwanda, Kapuscinski has crisscrossed vast distances pursuing the swift, and often violent, events that followed liberation. Kapuscinski hitchhikes with caravans, wanders the Sahara with nomads, and lives in the poverty-stricken slums of Nigeria. He wrestles a king cobra to the death and suffers through a bout of malaria. What emerges is an extraordinary depiction of Africa--not as a group of nations or geographic locations--but as a vibrant and frequently joyous montage of peoples, cultures, and encounters. Kapuscinski's trenchant observations, wry analysis and overwhelming humanity paint a remarkable portrait of the continent and its people. His unorthodox approach and profound respect for the people he meets challenge conventional understandings of the modern problems faced by Africa at the dawn of the twenty-first century.… (més)
Membre:RICEZambia
Títol:The Shadow of the Sun
Autors:Ryszard Kapuscinski (Autor)
Informació:Vintage (2002), Edition: Reprint, 325 pages
Col·leccions:La teva biblioteca
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Informació de l'obra

Eben de Ryszard KAPUŚCIŃSKI (Author) (1998)

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» Mira també 76 mencions

Anglès (35)  Castellà (5)  Francès (2)  Italià (2)  Grec (1)  Neerlandès (1)  Totes les llengües (46)
Es mostren 1-5 de 46 (següent | mostra-les totes)
It may be difficult not to love this man, yet his books about Africa are rather ethnocentric with plenty of condescending paternalism in it.

Kapuscinski has charm. He is a romantic. He appreciates how small, everyday acts of kindness can form the basis of a good story. Yet his tendency to exaggerate, generalize and sensationalize in a superficial way reflects his journalistic gaze, which scans for the exceptional, news-worthy at the expense of a full understanding, a complete picture, a critical take on ‘the obvious’.

Often one is tempted to shout out – Man! Start reading some books! For instance when he claims that apartheid was invented by Boers in South Africa (correct) and next observes that you can see it anywhere in Africa (not quite correct). How about reading some stuff about Lord Lugard and the British system of dual rule? Ever heard of segregation, British style? How about Mamdani’s book on Citizen and subject?

Yet in mediation for this blatant ignorance, Kapuscinski can be unconventional and charming in taking on old debates. For instance when he is accused of being white and thus guilty of suppressing Africans, robbing their countries blind, his response is – Why, me? ‘You were colonized? We, Poles, were also! For one hundred and thirty years we were a colony of three foreign powers. White ones, too.’. That’s Kapuscinski’s charm and humour. Interpersonally he must have been a joy to interact or work with.

The part of African society he has very well understood is the importance of social relations and exchange of gifts (sometimes of a very different order: something of symbolic value can be exchanged with something of material value). The story about the hole in Onitsha, I like best. Here Kapuscinski reveals something that few people realize: the emergent nature of buzzing activity, and the tendency to help fate a bit, if one can. Basically in the story Kapuscinski creates suspense by telling us about the nature and joy of open markets in Africa, of which the one in Onitsha, Nigeria, is purportedly the biggest. Driving there, Kapuscinski gets stuck in a long traffic jam. He walks ahead to assess what is blocking the (only) road to the market: a big hole, in which trucks and cars get stuck in the mud, and have to be hauled out by groups of young men (for a fee). Around this very hole a hive of activities occurs – street sellers making a buck, young men ganging up to be the next team to make a buck with hauling out cars, news collectors, everybody coalesces around the hole. Kapuscinski assesses the pace, and decides to turn back: it will take him three days to make it through the hole that separates him from this famous market place. He returns but not without catching the butt of the story: the hole moves, every now and then it appears in a different neighbourhood, thus spreading wealth and activity across different parts of town. ( )
  alexbolding | Dec 9, 2021 |
Memoirs of a Polish journalist's travels in Africe from the 1960s to 1990s.
The writer had access to the presidents and generals and ambassadors, but seems much more interested in the ordinary people. He travels rough, sleeps rough and eats rough - but gets to the heart of the ordinary people he mixes with.
The writing is spare and captivating. He writes in the first person, but without ego - he only appears in his stories as a means of illuminating some aspect of life in Africa.
I was enthralled. ( )
  mbmackay | Sep 22, 2021 |
Quien muchos consideran el mejor reportero del siglo se sumerge en el continente africano, rehuyendo lugares comunes y estereotipos. Vive en las casas repletas de cucarachas de los más pobres, enferma de malaria cerebral, corre peligro de muerte a manos de un guerrillero, pero pese a todo no pierde su mirada lúcida y su voz de narrador para adentrar al lector en la compleja realidad de África, con las guerras, miseria e injusticia que atraviesan su historia y lastran su presente.
  MaEugenia | Aug 31, 2020 |
891.853 7 KAP
  ScarpaOderzo | Apr 19, 2020 |
Viaggiatore curioso e acuto, Kapuscinski si cala nel continente africano e se ne lascia sommergere, rifuggendo tappe obbligate, stereotipi e luoghi comuni. Abita nelle case dei sobborghi più poveri, brulicanti di scarafaggi e schiacciate dal caldo, si ammala di tubercolosi e si fa curare negli ambulatori locali; rischia la morte per mano di un guerrigliero; ha paura e si dispera. Ma non rinuncia mai allo sguardo lucido e penetrante del reporter, all'affabulazione del narratore: che parlino di Amin Dada o della tragedia del Ruanda, di una giornata in un villaggio o della città di Lalibela, tassello dopo tassello le pagine di "Ebola" compongono il mosaico di un mondo carico di un'inquieta e violenta elettricità.
  kikka62 | Apr 2, 2020 |
Es mostren 1-5 de 46 (següent | mostra-les totes)
As literature, “The Shadow of the Sun” is in its way magnificent. As analysis, it can be strange. Mr Kapuscinski's account of Idi Amin's rule is inaccurate and his history of Rwanda is botched. Mysteriously, he travels from Djibouti to Gondar by way of Ndjamena: two sides of a huge triangle. Mr Kapuscinski tells it as it felt, rather than as it was, describing—sometimes, it seems, distastefully relishing—whatever is bizarre, humiliating, disgusting, exotic.
afegit per Serviette | editaThe Economist (Jun 28, 2001)
 
The word 'reportage' appears twice in the jacket endorsements of this fine narrative study of African events and people, of African conditions and geography, by Ryszard Kapuscinski. According to John le Carré, Kapuscinski is the 'conjurer extraordinary of modern reportage'. According to Michael Ignatieff, who is no slouch in the same department, he has raised reportage 'to the status of literature'.
afegit per Serviette | editaThe Guardian, Ian Jack (Jun 3, 2001)
 
He is lyrically succinct - in the stupor of noon a village was "like a submarine at the bottom of the ocean: it was there, but it emitted no signals, soundless, motionless" - and often hysterically funny.
afegit per mikeg2 | editaThe Guardian, Geoff Dyer (Jun 2, 2001)
 
Ryszard Kapuscinski has led an extraordinary life. Born in 1932 in the marshlands of eastern Poland and raised in poverty, he became, in the 1950's, Poland's most celebrated foreign correspondent. For decades he roamed the globe on a laughably tight budget, living mostly in Africa, Asia and Latin America, filing stories for the Polish press agency PAP. It was a hairy beat. According to his American publisher, Kapuscinski ''witnessed 27 coups and revolutions; and was sentenced to death four times.''
 
Mr. Kapuscinski never loses his affection for the people whose lives he witnesses or his awe at the magnificence of the African spectacle, its oceanic size and variety, the beauty of its landscapes, the heavy weight of its patience and its spirituality. But as the vignettes roll on one after the other, Africa, in Mr. Kapuscinski's version of it, becomes ever more afflicted, more of a disaster. We do not learn in this book what happened in Ghana after the first hopeful years, or what became of Mr. Baako, but in his fragmentary, episodic way, Mr. Kapuscinski shows a continent sliding into governmental gangsterism, dependence on foreign aid, murderous tyrannies and urban populations with nothing to do.
 

» Afegeix-hi altres autors (19 possibles)

Nom de l'autorCàrrecTipus d'autorObra?Estat
KAPUŚCIŃSKI, RyszardAutorautor primaritotes les edicionsconfirmat
幸雄, 工藤Traductorautor secundarialgunes edicionsconfirmat
CHMIELIK, TomaszTraductorautor secundarialgunes edicionsconfirmat
Glowczewska, KlaraTraductorautor secundarialgunes edicionsconfirmat
Mansberger Amorós, RobertoTraductorautor secundarialgunes edicionsconfirmat
Orzeszek, AgataTraductorautor secundarialgunes edicionsconfirmat
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In 1957, Ryszard Kapuscinski arrived in Africa to witness the beginning of the end of colonial rule as the first African correspondent of Poland's state newspaper. From the early days of independence in Ghana to the ongoing ethnic genocide in Rwanda, Kapuscinski has crisscrossed vast distances pursuing the swift, and often violent, events that followed liberation. Kapuscinski hitchhikes with caravans, wanders the Sahara with nomads, and lives in the poverty-stricken slums of Nigeria. He wrestles a king cobra to the death and suffers through a bout of malaria. What emerges is an extraordinary depiction of Africa--not as a group of nations or geographic locations--but as a vibrant and frequently joyous montage of peoples, cultures, and encounters. Kapuscinski's trenchant observations, wry analysis and overwhelming humanity paint a remarkable portrait of the continent and its people. His unorthodox approach and profound respect for the people he meets challenge conventional understandings of the modern problems faced by Africa at the dawn of the twenty-first century.

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