because i was bad in my last life.
because allah has willed it.
because the rich do nothing for the poor.
because the poor do nothing for themselves.
because it is my destiny.
These are just some of the answers to the simple yet groundbreaking question William T. Vollmann asks in cities and villages around the globe: "Why are you poor?" In the tradition of James Agee's Let Us Now Praise Famous Men, Vollmann's Poor People struggles to confront poverty in all its hopelessness and brutality, its pride and abject fear, its fierce misery and its quiet resignation. Poor People allows the poor to speak for themselves, explaining the causes and consequences of their impoverishment in their own cultural, social, and religious terms.
There is the alcoholic mother in Buddhist Thailand, sure that her poverty is punishment for transgressions in a former life, and her ten-year-old daughter, whose faith in her own innocence gives her hope that her sin in the last life was simply being rich. There is the Siberian-born beggar who pins her woes on a tick bite and a Gypsy curse more than a half century ago, and the homeless, widowed Afghan women who have been relegated to a "respected" but damning invisibility. There are Big and Little Mountain, two Japanese salarymen who lost their jobs suddenly and now live in a blue-tarp hut under a Kyoto bridge. And, most haunting of all, there is the faded, starving beggar-girl, staring empty-eyed on the back steps of Bangkok's Central Railroad Station, whose only response to Vollmann's query is simply, "I think I am rich."
The result of Vollmann's fearless journey is a look at poverty unlike any other. Complete with more than 100 powerfully affecting photographs—taken of the interviewees by the author himself—this series of vignettes and searing insights represents a tremendous step toward an understanding of this age-old social ill. With intense compassion and a scrupulously unpatronizing eye, Vollmann invites his readers to recognize in our fellow human beings their full dignity, fallibility, pride, and pain, and the power of their hard-fought resilience.
"synopsis" may belong to another edition of this title.
William T. Vollmann is the author of seven novels, three collections of stories, and a seven-volume critique of violence, Rising Up and Rising Down. He is also the author of Poor People, a worldwide examination of poverty through the eyes of the impoverished themselves; Riding Toward Everywhere, an examination of the train-hopping hobo lifestyle; and Imperial, a panoramic look at one of the poorest areas in America. He has won the PEN Center USA West Award for Fiction, a Shiva Naipaul Memorial Prize and a Whiting Writers' Award. His journalism and fiction have been published in The New Yorker, Esquire, Spin and Granta. Vollmann lives in Sacramento, California.From Publishers Weekly:
The varied responses to the question "why are you poor?" fuels this meditation on the nature of poverty by journalist and National Book Award–winning novelist Vollmann (Europe Central, etc.). The book, structured as a series of vignettes that span the globe and decades, describes Vollmann's encounters with individuals and families who many would consider poor. A handful of these people, including three generations of women in Thailand and two men in Japan, drive the book, as Vollmann closely examines their circumstances. His alternately sentimental and erudite inquiry is based in large part on his and their personal experience, as an antidote to the official and scientific data about poverty. Indeed, his attempt to understand poverty is deeply entwined with a more poetic inquiry into happiness. Some of the anecdotes set aflight by Vollmann's novelistic attention to details are provocative;others, however, come off as more nostalgic than illustrative, and give the book a desultory feel. But the book's movement between details and thought, spiced with Vollmann's singular style, is intriguing. On the table is not just poverty, but questions of community, fate and perspective. The book's greatest accomplishment is that—unlike other works of this sort—it's neither guilt producing nor guilt absolving. At the end, there's no implied sigh or self-congratulation, for writer or reader. This is the book's greatest achievement.(Mar.)
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