You'd think there wouldn't be much left to say about a living icon like Muhammad Ali, yet David Remnick imbues King of the World with all the freshness and vitality this legendary fighter displayed in his prime. Beginning with the pre-Ali days of boxing and its two archetypes, Floyd Patterson (the good black heavyweight) and Sonny Liston (the bad black heavyweight), Remnick deftly sets the stage for the emergence of a heavyweight champion the likes of which the world had never seen: a three-dimensional, Technicolor showman, fighter and minister of Islam, a man who talked almost as well as he fought. But mostly Remnick's portrait is of a man who could not be confined to any existing stereotypes, inside the ring or out. In extraordinary detail, Remnick depicts Ali as a creation of his own imagination as we follow the willful and mercurial young Cassius Clay from his boyhood and watch him hone and shape himself to a figure who would eventually command center stage in one of the most volatile decades in our history. To Remnick it seems clear that Ali's greatest accomplishment is to prove beyond a doubt that not only is it possible to challenge the implacable forces of the establishment (the noir-ish, gangster-ridden fight game and the ethos of a whole country) but, with the right combination of conviction and talent, to triumph over these forces. --Fred Haefele --This text refers to an out of print or unavailable edition of this title.
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David Remnick
David Remnick (Hackensack, 29 de outubro de 1958) é um jornalista norte-americano, escritor, e editor de revista. Ele foi correspondente pelo Washington Post em Moscou, e ganhou um Prémio Pulitzer de Não Ficção Geral em 1994 pelo seu livro Lenin's Tomb: The Last Days of the Soviet Empire. É editor da revista The New Yorker desde 1998. No Brasil, foi editada pela Companhia das Letras em 2006 uma coletânea sua de perfis para a revista, que foi publicada dentro da Coleção Jornalismo Literário sob o nome Dentro da Floresta.
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Nova Jersey, Estados Unidos