Read The Buffalo Hunter by Peter Straub Free Online
Book Title: The Buffalo Hunter|
The author of the book: Peter Straub
Edition: Cemetery Dance Publications
Date of issue: 2012
Loaded: 2121 times
Reader ratings: 4.2
ISBN: No data
ISBN 13: No data
Format files: PDF
The size of the: 14.14 MB
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Read full description of the books:
I absolutely love this story. It is not about baby bottles; it's about attachment. It isn't about magically transporting yourself to the world of books; it's about escape. It isn't about a man that lies to friends and family about his personal and professional success; it's about struggling to find one's place in a world that feels banal and vapid.
The protagonist Bob Bunting is out of place in every sense. He does not fit in at work, with his family, or with his attempts at romance. He builds up a veneer of success and class with lies upon lies, only to further alienate himself. His private life is his only refuge, where he regresses to an especially childlike state of drunkenness and escapism.
This escapism takes the form of Bunting becoming part of the book he is reading, and like most of the supernatural elements in Straub's work, it is open to interpretation whether or not something paranormal is actually taking place. It could be simply a manifestation of Bunting's neuroses. The distinction is less important than the meaning behind it: Bunting feels a sense of place, of authenticity, in the story that is lacking in his humdrum, ordinary life.
The narrative eventually unfolds to emphasize Bunting's isolation from the world around him. Issues concerning parental attachment, the dehumanizing nature of a meaningless job, and the individual's ability to find meaning only in a retreat from their environment leave this book open to multiple possible interpretations. In this story I have found something of a contemporary retelling of Melville's Bartleby the Scrivener, but that may be my bias reading too deeply into it.
I highly recommend this book, especially if you are, like me, a bookish office drone that occasionally finds solace in the escape of a good book.
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Read information about the authorPeter Straub was born in Milwaukee, Wisconsin on 2 March, 1943, the first of three sons of a salesman and a nurse. The salesman wanted him to become an athlete, the nurse thought he would do well as either a doctor or a Lutheran minister, but all he wanted to do was to learn to read.
When kindergarten turned out to be a stupefyingly banal disappointment devoted to cutting animal shapes out of heavy colored paper, he took matters into his own hands and taught himself to read by memorizing his comic books and reciting them over and over to other neighborhood children on the front steps until he could recognize the words. Therefore, when he finally got to first grade to find everyone else laboring over the imbecile adventures of Dick, Jane and Spot (“See Spot run. See, see, see,”), he ransacked the library in search of pirates, soldiers, detectives, spies, criminals, and other colorful souls, Soon he had earned a reputation as an ace storyteller, in demand around campfires and in back yards on summer evenings.
This career as the John Buchan to the first grade was interrupted by a collision between himself and an automobile which resulted in a classic near-death experience, many broken bones, surgical operations, a year out of school, a lengthy tenure in a wheelchair, and certain emotional quirks. Once back on his feet, he quickly acquired a severe stutter which plagued him into his twenties and now and then still puts in a nostalgic appearance, usually to the amusement of telephone operators and shop clerks. Because he had learned prematurely that the world was dangerous, he was jumpy, restless, hugely garrulous in spite of his stutter, physically uncomfortable and, at least until he began writing horror three decades later, prone to nightmares. Books took him out of himself, so he read even more than earlier, a youthful habit immeasurably valuable to any writer. And his storytelling, for in spite of everything he was still a sociable child with a lot of friends, took a turn toward the dark and the garish, toward the ghoulish and the violent. He found his first “effect” when he discovered that he could make this kind of thing funny.
As if scripted, the rest of life followed. He went on scholarship to Milwaukee Country Day School and was the darling of his English teachers. He discovered Thomas Wolfe and Jack Kerouac, patron saints of wounded and self-conscious adolescence, and also, blessedly, jazz music, which spoke of utterance beyond any constraint: passion and liberation in the form of speech on the far side of the verbal border. The alto saxophone player Paul Desmond, speaking in the voice of a witty and inspired angel, epitomized ideal expressiveness, Our boy still had no idea why inspired speech spoke best when it spoke in code, the simultaneous terror and ecstasy of his ancient trauma, as well as its lifelong (so far, anyhow) legacy of anger, being so deeply embedded in the self as to be imperceptible, Did he behave badly, now and then? Did he wish to shock, annoy, disturb, and provoke? Are you kidding? Did he also wish to excel, to keep panic and uncertainty at arm's length by good old main force effort? Make a guess. So here we have a pure but unsteady case of denial happily able to maintain itself through merciless effort. Booted along by invisible fears and horrors, this fellow was rewarded by wonderful grades and a vague sense of a mysterious but transcendent wholeness available through expression. He went to the University of Wisconsin and, after opening his eyes to the various joys of Henry James, William Carlos Williams, and the Texas blues-rocker Steve Miller, a great & joyous character who lived across the street, passed through essentially unchanged to emerge in 1965 with an honors degree in English, then an MA at Columbia a year later. He thought actual writing was probably beyond him even though actual writing was probably what he was best at - down crammed he many and many a book, stirred by
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