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The Atlas


In The Atlas, William T. Vollmann presents his vision of our planet at the cusp, with old conflicts smoldering on and new miseries and estrangements multiplying. Bosnia, Phnom Penh, Jerusalem, New York, Mogadishu, the Arctic, a bazaar of fortune-tellers in Burma, a robber-infested disco in Madagascar - against these backdrops, Vollmann's tales live their own various and wildly different lives, from fable to surrealistic portrait to reportage. Above all, it is the human beings in this book who engage us: the old ...
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1996 Hard cover NEW, Hardcover edition. ISBN 0670865788 New in new dust jacket. NEW, Hardcover edition. ISBN 0670865788 NEW, Hardcover edition. ISBN 0670865788 NEW, Hardcover ... edition. ISBN 0670865788 Read more Show Less

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The Atlas

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In The Atlas, William T. Vollmann presents his vision of our planet at the cusp, with old conflicts smoldering on and new miseries and estrangements multiplying. Bosnia, Phnom Penh, Jerusalem, New York, Mogadishu, the Arctic, a bazaar of fortune-tellers in Burma, a robber-infested disco in Madagascar - against these backdrops, Vollmann's tales live their own various and wildly different lives, from fable to surrealistic portrait to reportage. Above all, it is the human beings in this book who engage us: the old walrus hunter, the crack-addicted prostitute whose children have been taken away from her, the boxer brought in to lose, the drunken gypsy, and from time to time, of course, the author himself. Through their eyes, Vollmann writes of memory, oppression, loneliness, war, the thrill of the alien, and the infinitely precious pain of love. Arranged as a huge thematic palindrome, The Atlas showcases Vollmann's ability to build strange structures, sonnets composed of stories instead of words.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Last year could be remembered as a year in which the prolific young Vollmann did not publish a book; early 1996, however, shows that he wasn't sitting on his hands. This massive tome collects "tales" and "snapshots" of his travels over the past five years into something resembling "The World According to Me." Although Vollmann's style is to play it coy with respect to what is fact and what is fiction, there is no mystery as to who is doing the talking here: it is the same persona we've seen in all his books (The Rifles; Whores for Gloria; etc.), a kind of rogue innocent, a Candide with a supply of condoms and a girl in every port. And indeed, Atlas sports quite an itinerary: from Mt. Etna to Zagreb, with stops in dozens of places, none of which will surprise readers of Vollmann's previous travelogues. Unfortunately, for all the traveling, Vollmann never manages to escape his own obsessions. Whether he is discoursing on drinking beer or shooting heroin or smoking crack or chewing khat in San Francisco, Bangkok or Kenya, the reader is treated to the same lovelorn teddy-bear pining after a devastated whoredom, as if the world can be reduced to a rainy afternoon in a bug-infested hotel room. The Vollmann character throws money around (within limits), makes halting efforts at moral education, professes his love and then starts another chapter. Is this the noblesse oblige of the post-partisan American? Despite a structure that Vollmann says, in his preface, is a thematic palindrome, intrepid readers may find it a thematic monotone. (Apr.)
Brad Hooper
Vollmann has gained cult status in the writing world, which, by definition, means his work is not for tradition-bound, and certainly not timid, readers. His novels and stories--and differentiating between a Vollmann novel and a collection of his stories is often difficult, because, in his hands, the two forms share a similar structure--are surrealistic, sordid, sensational, and "terrific". His latest book is ostensibly a 53-piece collection of travel writing, "a piecemeal atlas of the world I think in," as he words it. What it is, in effect, is a kaleidoscope of verbal pictures, rendered with the incredible vividness of his gritty but beautiful style. Whether he's writing about the crowds in New York's Grand Central Station ("the people who rushed through this concourse came from the rim of everywhere to be ejaculated everywhere, redistributing themselves without reference to each other" ) or witnessing mosquitoes driving human and beast to madness in the Yukon ("the most horrible thing that I have ever seen" ), Vollmann expresses himself with a clarity and a visualization all his own. His readership is growing; no fan will be disappointed here.
Jim Paul
In The Atlas, William T. Vollmann arranges 53 gritty travel narratives as a kind of card deck of the world, plus one. At the start, a "Compiler's Note" offers various alternatives for the book's use. "Slide it under your buttocks when commencing the night's revels," Vollmann recommends. "Slay the nightmare flies of sleep with its hard covers."

There are nightmare flies aplenty in what follows. Each of these disturbing stories -- the book is a combination of fiction and autobiography -- is headed with a location and a date, as this obsessed and gifted chronicler globe hops from Sarajevo to Inuit Canada to Rangoon to dozens of other locales. Wherever the setting, the place is hell. Its residents live in torment, and Vollmann's own character is as vulnerable and wounded as anyone. Often the accounts concern whores and their johns. In Butterfly Stories (1), the narrator returns to Phnom Penh to look for his wife, a dance hall girl with the unlikely name of Vanna, whom he left there two years previously. In the end, he thinks he recognizes her as he buys her for a dance, understanding "the rule, which was as brutal as life: As long as he could keep dancing with her (and paying to dance), she'd still be his."

"White boys inhale too fast," says the hooker in The Best Way to Smoke Crack, "'cause they think if they do they'll get more high." This is a place nonfiction doesn't often go. In the second of the Butterfly Stories, a furious hooker berates the narrator, then makes him have sex with her without a condom, at the same time telling him that she has AIDS. "Can you feel my death crawling inside of you?" she asks. It's a world of pain, in which the narrator uses the temporary drug of perpetual motion because to stop would be to die.

In the title story, the narrator takes a train north into Canada, exhausted, yet flipping through the rest of the book's places in his head. "Everywhere he went, he'd say to himself: There's nothing for me here anymore. No more nowhere nobody." Leaving that nearly still center of this palindrome-like book, we re-enter the dangerous turf Vollmann takes for his own. Formally and otherwise, The Atlas is a tour de force. --Salon

Kirkus Reviews
Making a bid for the bleakest book of the year, Vollmann (Butterfly Stories, 1993, etc.) fashions a world-wide web of despair in a palindrome of 53 stories, each having to do with sorrow or loss, and often involving the hopeless lives of whores from Cambodia to Canada.

From the jungle to the tundra, from the smog of L.A. to the fog of Hong Kong, from bullfights in Mexico City to firefights in Sarajevo, these stories, often drawing on Vollmann's own travels and life, mingle autobiography and invention, creating a provocative, sometimes dizzying, hybrid. Among the most resonant pieces are the unsparing description of childhood loss of a sister, and a tale set in Bosnia, involving an incident when a friend was shot dead in a car in which the author was also riding. Loves lost also figure prominently: the tender prostitute Vollmann met during his first trip to Phnom Penh; a lame Ojibway in Winnepeg, whose husband took him on a drunk; his first girlfriend, now married with children and locked in a battle with breast cancer. Diverse adventures, which also have a way of distancing the writer from his world, mingle with the sexual ones. He pays to go on a walrus hunt with an old Inuit and his grandsons and is mostly ignored, cuts short a night of ringside kickboxing in Bangkok when the sport's brutality overwhelms him, and is tolerated by urban aborigines in Sydney only as long as the beer he's bought holds out. Despite their distanced quality, these fantasies and terrifying visions of underclass reality at every latitude and longitude are poetically, damningly precise.

As in other recent work from Vollmann, however, repetitive images seem to reiterate rather than advance the theme, turning terrific writing into tedium. One weeps somewhat reflexively for the lost souls mirrored in these fragments; more heartfelt, unfortunately, is a horror at the squandering of such a prodigious prose talent.

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Product Details

  • ISBN-13: 9780670865789
  • Publisher: Penguin Group (USA) Incorporated
  • Publication date: 4/28/1996
  • Pages: 496
  • Product dimensions: 6.38 (w) x 9.41 (h) x 1.55 (d)

Meet the Author

William T. Vollmann

William T. Vollmann is the author of eight novels, three collections of stories, a memoir, and Rising Up and Rising Down, which was a finalist for the National Book Critics Circle Award in nonfiction. Vollman's writing has been published in The New Yorker, Harper's, The Paris Review, Esquire, Conjunctions, Granta, and many other magazines. He lives in California.


Fearless, ambitious, and wildly original, William T. Vollmann has been lionized as one of the most significant and influential voices in contemporary postmodernist literature. His dauntingly voluminous books, a hodgepodge of fiction and journalism, are marked by bold, often beautiful language. They also spring from personal experience: Volmann is famous for total immersion in his subjects. His research has taken him to the ends of the earth – to the North Pole, to war zones around the globe, and (perhaps most famously) to San Francisco's notorious Tenderloin district to gain a better understanding of its notorious denizens..

Vollmann roared onto the literary scene in 1987 with You Bright and Risen Angels, a bold and quirky debut novel that chronicled in allegorical fashion the bitter battle between insects and the inventors of electricity. From that point on, his books became less surreal and more gritty. In 1992, he wrote his first "official" work of nonfiction, An Afghanistan Picture Show , an impressionistic chronicle of his experiences among the Afghan rebels in the early 1980s. Since then, the prolific author has produced an unstoppable juggernaut of prose, most notably installments in his towering fictional sequence Seven Dreams: A Book of North American Landscapes and a labyrinthine seven-volume treatise on violence called Rising Up, Rising Down. Published by the iconoclastic publishing house McSweeney's in 2003, this magnum opus was nominated for the National Book Critics Circle Award in Nonfiction.

In 1999, The New Yorker named Vollmann one of the 20 best American writers under the age of 40. In 2005, he was awarded the National Book Award for Fiction for Europe Central, a 750-page series of linked stories set in Germany and Russia during World War II. His journalism continues to appear in such magazines as Esquire, Spin, Gear, Outside, The Los Angeles Times Magazine, and The New Yorker. In addition, he has founded the Co-Tangent Press as a vehicle for publishing his own limited edition art books.

Good To Know

Vollmann wrote his first novel, You Bright and Risen Angels, while working as a computer programmer.

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    1. Also Known As:
      m the Blind, Captain Subzero
    2. Hometown:
      Sacramento, California
    1. Date of Birth:
      July 28, 1959
    2. Place of Birth:
      Santa Monica, California
    1. Education:
      Attended Deep Springs College and Cornell University

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