The Khao San Road, Bangkok - first stop for the hordes of rootless young Westerners traveling in Southeast Asia. On Richard's first night there, a fellow traveler slashes his wrists, bequeathing to Richard a meticulously drawn map to "the Beach." The Beach, as Richard comes to learn, is a subject of legend among the young travelers in Asia: a lagoon hidden from the sea, with white sand and coral gardens, freshwater falls surrounded by jungle, plants untouched for thousands of years. There, it is rumored, a carefully selected international few have settled into a communal Eden. Richard sets off with a young French couple to an island hidden away in an archipelago forbidden to tourists. They discover the Beach, and it is as beautiful as it is reputed to be. Yet over time it becomes clear that Beach culture, as Richard calls it, has troubling, even deadly undercurrents.
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In our ever-shrinking world, where popular Western culture seems to have infected every nation on the planet, it is hard to find even a small niche of unspoiled land--forget searching for pristine islands or continents. This is the situation in Alex Garland's debut novel, The Beach. Human progress has reduced Eden to a secret little beach near Thailand. In the tradition of grand adventure novels, Richard, a rootless traveler rambling around Thailand on his way somewhere else, is given a hand-drawn map by a madman who calls himself Daffy Duck. He and two French travelers set out on a journey to find this paradise.
What makes this a truly satisfying novel is the number of levels on which it operates. On the surface it's a fast-paced adventure novel; at another level it explores why we search for these utopias, be they mysterious lost continents or small island communes. Garland weaves a gripping and thought-provoking narrative that suggests we are, in fact, such products of our Western culture that we cannot help but pollute and ultimately destroy the very sanctuary we seekFrom the Inside Flap:
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