Hilarious, brave, and tinged with the inescapable sorrow of death’s inevitability, The Sweet-Scented Manuscript is a portrait of youth itself.
The 1950s are coming to a close, and young Leland Pefley is off to university. He knows only two things about his future: first, that he, like James Dean, will die young and gloriously; second, that in the meantime he was not destined to live like anyone else. Navigating the pitfalls of conformism and debauchery, overcome by the despair and rapture of youthful love, and menaced continually by the need for gainful employment, Lee boldly strives to defend his integrity and to conquer the heart of the love of his life, the ravishing Judy.
The Sweet-Scented Manuscript is a gorgeous recounting of the romance, the fatalism, the rebelliousness, and the tragicomedy of the springtide of life, sharpened by all the spices of an intelligent young man’s lively revolt against the deadening mediocrity of his times.
|Publisher:||Arktos Media Ltd|
|Edition description:||2nd ed.|
|Product dimensions:||5.50(w) x 8.50(h) x 0.76(d)|
About the Author
His first novel, 1991's Lee, received favorable reviews in The New York Times, The Los Angeles Reader and The New England Review of Books. His other novels have been praised in Chronicles: A Magazine of American Culture, The Quarterly Review and The Occidental Observer. Arktos has published his novel Morning Crafts, the first in a series of his novels to be published by us, William's House (vol. 1-4), Philip, The Bent Pyramid, and Lee.
Most Helpful Customer Reviews
While the subject of Tito Perdue's 'The Sweet-Scented Manuscript' (a country boy experiencing the world for the first time when he arrives at college) may not seem unique or special, it is in Perdue's deft manipulations of the novel's language that this artistic effort really shines. Perdue doesn't dumb anything down - rather, he exhibits an efficiency with words that gently demands that the reader pay full attention to the prose. Often, books like this can get bogged down in their own aesthetic self-importance, but Perdue sidesteps such problems with ease. Practically every sentence is phrased in such a refreshing manner that I found myself smiling while reading this book - not because of the situations or characters (though the characters are highly individual and fascinating throughout), but because of the playfulness of a sentence or the intricacy of a turn of phrase. It is a shame that Tito Perdue has remained out of the mainstream for so long - this is his fourth published novel, and it reflects a capable and poetic wordsmith. I recommend this novel to anyone interested in having a fresh and compelling reading experience.