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The Book of Joan: A Novel Paperback – February 13, 2018
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A New York Times Notable Book • BuzzFeed 50 Books We Can’t Wait to Read this Year •New York Times Book Review Editor’s Choice • National Bestseller
“Brilliant and incendiary.” — Jeff VanderMeer, New York Times Book Review
"Stunning. . . . Yuknavitch understands that our collective narrative can either destroy or redeem us, and the outcome depends not just on who’s telling it, but also on who’s listening.” — O, The Oprah Magazine
“[A] searing fusion of literary fiction and reimagined history and science-fiction thriller and eco-fantasy.” — NPR Books
The bestselling author of The Small Backs of Children offers a vision of our near-extinction and a heroine—a reimagined Joan of Arc—poised to save a world ravaged by war, violence, and greed, and forever change history
In the near future, world wars have transformed the earth into a battleground. Fleeing the unending violence and the planet’s now-radioactive surface, humans have regrouped to a mysterious platform known as CIEL, hovering over their erstwhile home. The changed world has turned evolution on its head: the surviving humans have become sexless, hairless, pale-white creatures floating in isolation, inscribing stories upon their skin.
Out of the ranks of the endless wars rises Jean de Men, a charismatic and bloodthirsty cult leader who turns CIEL into a quasi-corporate police state. A group of rebels unite to dismantle his iron rule—galvanized by the heroic song of Joan, a child-warrior who possesses a mysterious force that lives within her and communes with the earth. When de Men and his armies turn Joan into a martyr, the consequences are astonishing. And no one—not the rebels, Jean de Men, or even Joan herself—can foresee the way her story and unique gift will forge the destiny of an entire world for generations.
A riveting tale of destruction and love found in the direst of places—even at the extreme end of post-human experience—Lidia Yuknavitch’s The Book of Joan raises questions about what it means to be human, the fluidity of sex and gender, and the role of art as a means for survival.
- Print length288 pages
- LanguageEnglish
- PublisherHarper Perennial
- Publication dateFebruary 13, 2018
- Dimensions5.31 x 0.65 x 8 inches
- ISBN-100062383280
- ISBN-13978-0062383280
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Editorial Reviews
Review
“In this brilliant and incendiary new novel, mixing realism and fabulism, Earth, circa 2049, has been devastated by global warming and war; the wealthy live on a suborbital complex ruled by a billionaire celebrity turned dictator.” — New York Times Book Review, Editor’s Choice
“Stunning.... Yuknavitch understands that our collective narrative can either destroy or redeem us, and the outcome depends not just on who’s telling it, but also on who’s listening.” — O, The Oprah Magazine
“[A] searing fusion of literary fiction and reimagined history and science-fiction thriller and eco-fantasy...Yuknavitch is a bold and ecstatic writer, wallowing in sex and filth and decay and violence and nature and love with equal relish.” — NPR Books
“This ambitious novel encompasses a wide canvas to spin a captivating commentary on the hubris of humanity. An interesting blend of posthuman literary body politics and paranormal ecological transmutation; highly recommended.” — Library Journal, starred review
“Lidia Yukanavitch is skilled at writing poetically about the human body, and about nature, so this book ― her first foray into science fiction ― makes sense. It’s a retelling of the story of Joan of Arc, but in a world ravaged by radiation, and with few land-based survivors.” — Huffington Post, 17 Spine-Tingling New Books for Fans of Dystopia
“Joan [of Arc] offers herself as the perfect figure for Yuknavitch’s new novel. Translated into a dystopian future, this New Joan of Dirt serves as emblem for all the stalwart commoners in whose crushing defeat lies a kind of inviolate spiritual victory. . . . [The Book of Joan] offers a wealth of pathos, with plenty of resonant excruciations and some disturbing meditations on humanity’s place in creation . . . [It] concludes in a bold and satisfying apotheosis like some legend out of The Golden Bough and reaffirms that even amid utter devastation and ruin, hope can still blossom.” — Washington Post
“While delivering an entirely new world and also putting forth a powerful treatise on the way we live now, The Book of Joan is one of those dystopian novels that you can’t help thinking might be too eerily real to be just fiction.” — Newsweek
“While delivering an entirely new world and also putting forth a powerful treatise on the way we live now, The Book of Joan is one of those dystopian novels that you can’t help thinking might be too eerily real to be just fiction.” — USA Today, Best New Book Releases of April 18
“In a new kind of world, we need a new kind of hero and a reimagined Joan of Arc from Yuknavitch seems like just the thing.” — The Millions, Most Anticipated Books for April
“The Book of Joan is ferocious and indelible, grappling with what it means to love in the midst of violence; and how we transform fury, agony, and history into art. It is huge in its scope, moving seamlessly, quantumly, between dirt and cosmos, and through the wormholes of nonlinear time.” — Electric Literature
“Breathtaking, embattled, and consuming. Startling and badass. Subversive. Eviscerating. Terrifying and hopeful...Written in the tradition of all great science fiction, The Book of Joan reminds readers of the profound power even one lone voice can have in inspiring a revolution, influencing freedom and justice for generations to come.” — Bustle
“Yuknavitch has emerged as a trailblazing literary voice that spans genres and dives deep into themes of gender, sexuality, art, violence, and transcendence.” — Suleika Jaouad, Lenny Letter
“A dystopian story of power that questions what it means to be human.” — Real Simple
“The heart-stopping climax will surprise readers of this dystopian tale that ponders the meanings of gender, sex, love, and life.” — Booklist
“A sci-fi, dystopic retelling of the Joan of Arc story, Yuknavitch’s latest feels particularly essential at this moment in history. But then, every time we read something by the immensely talented Yuknavitch, it feels particularly essential.” — Nylon Magazine
“Riveting, ravishing, and crazy deep, The Book of Joan is as ferociously intelligent as it is heart-wrenchingly humane, as generous as it is relentless, as irresistible as it is important. In other words, it’s classic Lidia Yuknavitch: genius.” — Cheryl Strayed, New York Times bestselling author of Wild
“Lidia Yuknavitch is a writer who, with each ever more triumphant book, creates a new language with which she writes the audacious stories only she can tell. The Book of Joan is a raucous celebration, a searing condemnation, and fiercely imaginative retelling of Joan of Arc’s transcendent life.” — Roxane Gay, New York Times bestselling author of Bad Feminist and An Untamed State
“Reading The Book of Joan is a meditation on art and sex and war. My brain is full-bloomed. Get ready, it’s glorious.” — Amber Tamblyn, author of Dark Sparkler
“Dazzling. A post-apocalyptic literary tour de force, The Book of Joan begs for buzz. There is so much here that is transgressive and badass and nervy and transformational. Here is a Katniss Everdeen for grown-ups.” — Chelsea Cain, New York Times bestselling author of Let Me Go, Kill You Twice and The Night Season
“Lidia Yuknavitch’s The Book of Joan inscribes whatever blank canvasses it finds-space, skin, alabaster hallways, holding cells called Liberty Rooms-to tell the story of the vital and violent Joan. As with Dora, the price for entry into Yuknavitch’s world is corporeal. Her narrators demand we shed all fear of the body and step into a new literary nakedness. The Book of Joan is graffiti in white ink. It is where experimentalism meets the dirty earth and gets saved.” — Vanessa Veselka, author of Zazen
“Lidia Yuknavitch’s new book has left me throttled and close to speechless. Speculative doesn’t begin to describe this sexy, imaginative and thoroughly original work. Atwood, LeGuin and Lessing come to mind, but Yuknavitch’s sensibility, which includes her casual ability to completely blow your mind, is all her own.” — Karen Karbo, New York Times bestselling author of Julia Child Rules and How Georgia Became O'Keeffe
From the Back Cover
In the near future, world wars have transformed the earth into a battleground. Fleeing the unending violence and the planet’s now-radioactive surface, humans have regrouped to a mysterious platform known as CIEL, hovering over their erstwhile home. The changed world has turned evolution on its head: the surviving humans have become sexless, hairless, pale-white creatures floating in isolation, inscribing stories upon their skin.
Out of the ranks of the endless wars rises Jean de Men, a charismatic and bloodthirsty cult leader who turns CIEL into a quasi-corporate police state. A group of rebels unites to dismantle his iron rule—galvanized by the heroic song of Joan, a child-warrior who possesses a mysterious force that lives within her and communes with the earth. When de Men and his armies turn Joan into a martyr, the consequences are astonishing. And no one—not the rebels, Jean de Men, nor even Joan herself—can foresee the way her story and unique gift will forge the destiny of an entire world for generations.
About the Author
Lidia Yuknavitch is the author of the National Bestselling novel The Small Backs of Children, winner of the 2016 Oregon Book Award's Ken Kesey Award for Fiction as well as the Reader's Choice Award, the novel Dora: A Headcase, and three books of short stories. Her widely acclaimed memoir The Chronology of Water was a finalist for a PEN Center USA award for creative nonfiction and winner of a PNBA Award and the Oregon Book Award Reader's Choice. She founded the workshop series Corporeal Writing in Portland Oregon, where she also teaches Women's Studies, Film Studies, Writing, and Literature. She received her doctorate in Literature from the University of Oregon. She lives in Oregon with her husband Andy Mingo and their renaissance man son, Miles. She is a very good swimmer.
Product details
- Publisher : Harper Perennial; Reprint edition (February 13, 2018)
- Language : English
- Paperback : 288 pages
- ISBN-10 : 0062383280
- ISBN-13 : 978-0062383280
- Item Weight : 6.4 ounces
- Dimensions : 5.31 x 0.65 x 8 inches
- Best Sellers Rank: #162,418 in Books (See Top 100 in Books)
- #421 in Alternate History Science Fiction (Books)
- #1,336 in Dystopian Fiction (Books)
- #2,202 in Post-Apocalyptic Science Fiction (Books)
- Customer Reviews:
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It must be said that much of this may be laid to a matter of taste. In particular, I tend to enjoy hard science fiction. In general, I like to see the connection between this world and that of the novel. I want to see how we got from here to there. Ms. Yuknavitch’s novel (much like Jeff Vandermeer’s Bourne, which also didn’t do much for me) is more fantasy overlaid with the trappings of science fiction. It is rare for me to be able to get on board with this situation unless I really connect to the world-creation, which I didn’t in this case.
The setting of the CIEL platform hovering above a ravaged Earth siphoning off any remaining resources via skylines to the surface is excellent. The plot as a riff on the Joan of Arc story is a good one. What didn’t work for me were the characters.
I found it very difficult to connect to the impossible occupants of CIEL—neuter & white, disfiguring themselves with skin grafts and tattoos. The only “real” humans left are the wanderers on the surface but we only truly get to know Joan and her friend, Leone, and Joan with her essentially magical powers is as much a cipher as her companion who we don’t get to know well enough to understand why Joan loves her so much.
I know enough to understand that some people may find this setting and these characters very appealing. For some readers, the themes of a ravaged earth and its destroyers and saviors may be enough. I, however, am looking for something different.
I was anxious to read this and for some reason I expected to blown away. It may sound goofy, but this reminded me less of a newly published book that fell a little short of my (possibly unrealistic) expectations, and more so of one slightly older that I stumbled upon, not expecting much, yet was pleasantly surprised by.
Although some events seemed arbitrary to me and certain details lacked ample background information from my perspective, I found the language to be artful and potent in a way that's noticeably different from what I'm acclimated to. However, what pleased me most was the book's overall success in conveying relationships between the universe, Earth and man......
.....I could elaborate on this for days, but then you'd have no time to read, so in summary:
Everything is everything, but in regards to the universe- its vastness, its age- humanity isn't sh**; in regards to the planet- its age and ability to exist void of humanity, while humanity NEEDS the planet (yet continues to ravage it)- humanity isn't sh**. However, it is human emotion, particularly love, that makes it difficult to accept the idea that we aren't sh**.
Suffice it to say that the central themes are current. Valorization of nature, of course, is not particularly novel, but Yuknavitch does some interesting things with it while weaving in commentary on technology and gender. The masculine, patriarchal, technological vision of humanity is represented by CIEL—the spiritually impoverished orbiting enclave—whereas the feminine, subversive, Gaia figure is the titular Joan, a one-time freedom fighter of sorts and nemesis of the vicious CIEL potentate Jean de Man, whose connection to the earth gives her strange powers of creation and destruction. Cool setup.
But, alas, the premise never realizes its promise because the book is too busy checking itself out in the mirror. Many sentences, and even whole paragraphs, seem to exist for the sole purpose of showcasing the author's virtuosity and do little to drive the action, which has little rhythm and is populated with characters that are flat and garish. Outré plot elements fly in from left field with little setup or exposition. The good guys do a little too much soapboxing. The bad guys are a little too bad. In short, the book scrambles so very hard to be an Important Literary Contribution that it quite often trips over its own feet.
I'd still recommend it to anyone who's a dedicated fan of the genre, or who likes their dystopias with a stiff shot of eco-feminism, but on the whole I found the story too flimsy to support so much thematic weight.
Top reviews from other countries
O ano é 2049, e o planeta sucumbiu aos problemas climáticos e guerras. Uma espécie de nave chamada CIEL orbita em torno da Terra, e nela moram os poucos sobreviventes do apocalipse. Quem governa essa colônia é um imperador malévolo chamado Jean de Men, que foi capaz de derrotar uma garota rebelde de nome Joan of Dirty, numa batalha.
As pessoas que habitam CIEL são uma espécie de humanos mutantes, sem cabelos, sem órgãos sexuais, cujas pelas são decoradas com enxertos que podem contar histórias. A protagonista (e uma das narradoras) de The Book of Joan, Christine (chamada também de Christ), está marcando sua pele com a história da rebelde Joan. Além disso, planeja com seu amante Trinculo criar um espaço para os dissidentes – a própria relação sexual entre eles já é algo bem peculiar e subversivo.
Acredita-se que Joan of Dirty foi queimada viva como punição por suas heresias – ela também ouvia vozes. Mas, em capítulos alternados com Christine, ela mesma conta sua história, e de como sobreviveu a esse ataque. Com outra combatente chamada Leone, a personagem atravessa florestas, se esconde para se manter viva, e também planeja algo grandioso quando percebe seus poderes. Enquanto a política dentro de CIEL ganha novos contornos, as histórias das duas narradoras convergem para o mesmo ponto.
Yuknavitch altarna as duas vozes narrativas e os dois pontos de vista, mas também transita entre 1a e 3a pessoa dentro de um mesmo segmento, causando incompreensão, no começo, mas, ao mesmo tempo, sedimentando toda a (in)capacidade das narradoras (e narrativas) darem conta de algo novo, pós-humano, e incompreensível até para elas – e especialmente para nós. Narrativas, tanto em CIEL, quanto na Terra, do nosso presente, são formas de controle, e De Men, mais do que ninguém no romance, está ciente disso, em sua capacidade de controlar a partir das narrativas marcadas nos corpos.
Se Joan of Dirty remete rapidamente a Joana D’Arc, Christine é uma personagem que alude a Christine de Pizan (Cristina de Pisano, em português), uma poeta e filósofa italiana radicada na França, que viveu no século XIV. Uma das poucas cronistas de sua época, ficou famosa por defender o papel das mulheres na sociedade e criticar a misógina, especialmente no meio literário. A linguagem como mediador se torna refém de De Men, um ditador totalitário e bufão (como tantos governantes do presente), que a domina. Yuknavitch, tanto aqui como em livros como THE SMALL BACKS OF CHILDREN, é uma autora interessada em dinâmica de corpos ocupando espaços e sendo transformados por essa ocupação. Sua linguagem evoca vísceras e poesia que dialogam, corpos que se consomem, e, ao mesmo tempo, consomem o seu entorno.
Nesse sentido, é sintomático, que a literatura e o cinema transformam o pós-apocalipse num objeto de consumo que alerta, e, ao mesmo tempo, satisfaz. Nos mostra o mundo para onde caminhamos, e nos alenta por não termos chegado lá (ainda). Yuknavitch não se furta dessa lógica, mas também tenta a subverter com uma história ao mesmo tempo familiar como estranha. Encontramos elementos de conforto – o mais forte é a própria Joan of Dirty/Joana D’Arc, que acabou canonizada – como mal-estar – e há vários desse no livro, desde os corpos mutantes até a opressão dentro de CIEL. E, ao final, acabamos mesmo é impressionado com o poder de imaginação da autora capaz de criar um mundo tão estranho quanto habitual.







