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Beatrice and Virgil (Signed First Edition)

Martel, Yann

16,977 ratings by Goodreads
ISBN 10: 1400069262 / ISBN 13: 9781400069262
Published by Spiegel & Grau, 2010
New Condition: New Hardcover
From Dan Pope Books (West Hartford, CT, U.S.A.)

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About this Item

NEW YORK: Spiegel and Grau (2010). First edition, first printing (with full number sequence including the 1). Hardbound. Brand new! Very Fine in a very fine dust jacket. A tight, clean copy, new and unread. Comes with archival-quality mylar dust jacket protector. NOT price clipped. Shipped in well padded box. SIGNED BY AUTHOR on title page, and dated by him in April 2010, the month of publication. No other marks or writing. Bookseller Inventory # Signed-Fiction-14

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Bibliographic Details

Title: Beatrice and Virgil (Signed First Edition)

Publisher: Spiegel & Grau

Publication Date: 2010

Binding: Hardcover

Book Condition:New

Dust Jacket Condition: New

Signed: Signed by Author(s)

Edition: 1st Edition...

About this title

Synopsis:

Fate takes many forms. . . .
 
When Henry receives a letter from an elderly taxidermist, it poses a puzzle that he cannot resist. As he is pulled further into the world of this strange and calculating man, Henry becomes increasingly involved with the lives of a donkey and a howler monkey—named Beatrice and Virgil—and the epic journey they undertake together.

With all the spirit and originality that made Life of Pi so beloved, this brilliant new novel takes the reader on a haunting odyssey. On the way Martel asks profound questions about life and art, truth and deception, responsibility and complicity.
 

Review:

Yann Martel on Animals and the Holocaust in Beatrice and Virgil

I often get asked the question why I use animals in my stories. Life of Pi was set in a zoo and featured a number of animals, and animals once again play a prominent role in my new novel, Beatrice and Virgil. Am I a great animal lover? Well, I suppose I am; nature is indeed beautiful. But the actual reason I like to use animals is because they help me tell my tale. People are cynical about people, but less so about wild animals. A rhinoceros dentist elicits less skepticism, in some ways, than a German dentist. I also use animals in my fiction because people rarely see animals as they truly are, biologically. Rather, they tend to project human traits onto them, seeing nobility in one species, cowardice in another, and so on. This is biological nonsense, of course; every species is and behaves as it needs to in order to survive. But this animal-as-canvas quality is useful for a storyteller. It means that an animal that people feel kindly towards becomes a character that readers feel kindly towards.

Why did I choose to write a novel about the Holocaust? There’s nothing personal to this interest; I’m neither Jewish, nor of German or eastern European extraction. I’m a complete outsider who’s been staring at this monstrous massacre of innocents since I first learned about it as a child living in France. It’s as an artist that I’ve kept coming back to the subject. What can I do as an artist about the Holocaust? I believe that if history does not express itself as art, it will not survive in common human memory. And so I took what I knew of the Holocaust, the cumulative knowledge of my reading and viewing and visiting (both to camps in Poland and Germany and to Yad Vashem in Israel and to various museums), and I set it next to that part of me that wants to understand through the imagination. Then I sat down and wrote Beatrice and Virgil.


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