Description
“The performance of female characters by male Noh actors sparks a deeply researched, lovingly detailed, and obsessive discourse on the nature of feminine beauty....[A] fervently reflective, probing narrative...[that] rewards it on almost every page.” (Publishers Weekly )
“[A] provocative inquiry into beauty and desire... [Vollmann] is a passionate and penetrating observer ... a daring, brilliant, and idiosyncratic quest astonishing in its discernment, scope, and feeling.” (Booklist )
“[Vollmann’s] evocations of [Noh’s] death-haunted stories, its eerie masks, its male actors playing women...are so electric and strange, so enchanted, that they made me long for the very dramas that have often sent me toward the exit before the intermission.” (Pico Iyer, New York Times Book Review )
“Reward[s] the reader who stays with it for the long trip, the way a travel chronicle does.... Vollmann is not just a writer who admires. He is a writer who looks and touches.” (San Francisco Chronicle )
“[A] provocative inquiry into beauty and desire... [Vollmann] is a passionate and penetrating observer ... a daring, brilliant, and idiosyncratic quest astonishing in its discernment, scope, and feeling.” (Booklist )
“[Vollmann’s] evocations of [Noh’s] death-haunted stories, its eerie masks, its male actors playing women...are so electric and strange, so enchanted, that they made me long for the very dramas that have often sent me toward the exit before the intermission.” (Pico Iyer, New York Times Book Review )
“Reward[s] the reader who stays with it for the long trip, the way a travel chronicle does.... Vollmann is not just a writer who admires. He is a writer who looks and touches.” (San Francisco Chronicle )
