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This acclaimed and crazy novel, a finalist for Germany's most important award, has as its narrator the alter ego of Christian Kracht, a writer and dandy who embarks on a road trip with his alcoholic and semi-psychotic mother. They carry with them a bag full of cash that they intend to give away piecemeal throughout the country. It is the scandalous sum that they have inherited from their Nazi family, and that has been invested for years in the arms industry. Perhaps shedding that wealth is shedding the great European shame of the 20th century? Of transgenerational guilt and the horrors of war…mehr

Produktbeschreibung
This acclaimed and crazy novel, a finalist for Germany's most important award, has as its narrator the alter ego of Christian Kracht, a writer and dandy who embarks on a road trip with his alcoholic and semi-psychotic mother. They carry with them a bag full of cash that they intend to give away piecemeal throughout the country. It is the scandalous sum that they have inherited from their Nazi family, and that has been invested for years in the arms industry. Perhaps shedding that wealth is shedding the great European shame of the 20th century? Of transgenerational guilt and the horrors of war that still remain in our society; or perhaps, for them, it is just a matter of exorcising the internal demons of the family, whose history, in any case, repeatedly intersects with that of Germany. With lucidity and astonishing metaphysical depth, Kracht weaves in Eurotrash the threads of the memory of an entire continent into the simple chronicle of a broken bond that seeks to rebuild itself. A moving story, as heartbreaking as it is comic, that reflects on truth and conscience, a first-rate contemporary satire that tells us about the healing power of words and the debris of a history that a
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Autorenporträt
Isabel García Adánez (Madrid, 1972), licenciada en Filología Alemana y Filología Hispánica y doctora en Filología Alemana, es profesora Titular de Filología Alemana en la Universidad Complutense e investiga sobre literatura y artes de los siglos XIX a XXI. Vive en Madrid con frecuentes escapadas a Berlín. Ha traducido a numerosos clásicos y contemporáneos alemanes, entre ellos: Johann Wolfgang Goethe, Heinrich Heine, Theodor Fontane, Arthur Schnitzler, Joseph Roth, Klaus Mann, Thomas Mann, Stefan Zweig, Peter Handke, Herta Müller, Daniel Kehlmann, Christian Kracht. (Saanen, 1966) es un escritor y periodista suizo. Valorado como una de las voces más importantes de la literatura posmoderna alemana, su obra ha sido ampliamente galardonada y traducida a treinta idiomas. Su novela Imperium (2012) ganó el Wilhelm Raabe Literature Prize y Die Toten (2016) le valió el prestigioso Premio Suizo del Libro, además del Premio Herman Hesse. Faserland (1995), su debut literario, se considera la novela fundacional de la «literatura pop' o de la «generación Golf' alemana. Eurotrash (2021) fue un éxito rotundo tanto a nivel de crítica como de público. Isabel García Adánez (Madrid, 1972), graduate in German Philology and Hispanic Philology and doctor in German Philology, is a Full Professor of German Philology at the Complutense University and researches literature and arts from the 19th to 21st centuries. She lives in Madrid with frequent getaways to Berlin. She has translated numerous German classics and contemporaries, including: Johann Wolfgang Goethe, Heinrich Heine, Theodor Fontane, Arthur Schnitzler, Joseph Roth, Klaus Mann, Thomas Mann, Stefan Zweig, Peter Handke, Herta Müller, Daniel Kehlmann, Christian Kracht. (Saanen, 1966) is a Swiss writer and journalist. Valued as one of the most important voices in German postmodern literature, his work has been widely awarded and translated into thirty languages. His novel Imperium (2012) won the Wilhelm Raabe Literature Prize and Die Toten (2016) earned him the prestigious Swiss Book Prize, as well as the Herman Hesse Prize. Faserland (1995), his literary debut, is considered the founding novel of "pop literature" or of the German "Golf generation." Eurotrash (2021) was a resounding success both with critics and audiences.