Instruction: Given the title, description, feature, price, and brand of a product and a set of target attributes, extract the value of each target attribute from the product information. Output the extracted value and the corresponding source (e.g., title or feature) denoting where the value is extracted.

Input:
Product title: excerpt from Smedley's Secret Guide to World Literature
Product description: "In Melnyczuk's wonderful new novel, Jonathan Wainwright immediately charms the reader with his brilliant literary observations and insights, but what really steals the heart is that it comes ona wave of adolescent angst we all recognize--hormones and family problems and pop culture fuel this difficult journey while great and sometimes forgotten literary voices educate and shine light on his young and vulnerable heart. At one point he muses: the things they don't teach you in school would fill a book. And so they do: this book." -- Jill McCorkle "In this enchanting, very funny journey, Melnyczuk brings his extraordinary writing skills and his visionary understanding of human nature to bear on a story which is as hilarious as it is high-spirited. In the tradition of Stephen Dedalus, Holden Caulfield and Harry Potter, this story is a beguiling demonstration of what rebellion can achieve.Read it!" -- Susan Cheever "Impressively well written, Smedley's Secret Guide to World Literature clearly documents Melnyczuk as an original and exceptionally gifted novelist. Consistently compelling and deftly crafted from beginning to end,[it's] very highly recommended for community library General Fiction collections." -- Julie Summers, Midwest Book Review "Jonathan Wainwright isn't a bad kid. A privileged Cambridge youth with an ethnically and socioeconomically diverse group of friends, he's smart and aware of his place in the world. But he's also 15 and acts precipitously, with real-life consequences, several of which propel this fast, fresh novel...Wainwright is a believable modern teen, wired more into his phone than the real repercussions of his actions. But between his slipshod work on his essay and prying into his godfather's romantic past, he is trying to make sense of his life. This isn't easy for anyone, and Melnyczuk successfully captures these existential dilemmas in a believable teen voice." --Clea Simon, Boston Globe "Melnyczuk, did not allow me to dismiss Jonathan, [or] his cockeyed (in the best sense) worldview and irresistible narrative voice. This kid has invited us to witness his at once fumbling and creative attempts to figure out a crazy world. . . . [the author] doesn't let his reader off with an easy laugh. He weaves the young man's tentative pilgrimage toward self-awareness ("It's not like I want to lie, but I can't help it: sometimes an idea gets hold of me and I have to see how it sounds.") with equally tentative literary insights ("Lovelace was right. Stone walls are not the only way to build a prison."). In each chapter of the Secret Guide , Jonathan finds personal and universal relevance in the lives and works of an atypical reading list: Lydia Maria Child, Xu Zhimo, Grazia Madesani, Rabindranath Tagore, Melvin Tolson and Agnes Smedley. That learning process was central to my pleasure in reading Smedley's Secret Guide to World Literature .Jonathan's evolution is of the two-steps-forward-one-step-back school of maturation. As I read his adolescent exegesis, I couldn't help but root for the kid to work some s**t out, to find the atonement and forgiveness he only vaguely knows he's seeking. ... Smedley is plucky... You should meet him." - Robert Gray, ConsequenceMagazine , Volume 8: Spring 2016, This book is so different from your first three novels. I see each book as an experiment. It begins in a need, an impulse, an itch that's more physical than mental--a kind of pressure lodged somewhere in my body which the act of writing alone is able to relieve. Anyway, I never know what voice is going to whisper in my ear, or why, or what it wants. My task, at least initially, when starting a book is to attend, to be present, to record as much as it's willing to give. Some days it's generous, others nearly mute. The "bad" days (and they're not always actually "bad") are when my conscious mind kicks in and I start thinking about structure, and start the nearly endless process of tinkering with sentences. Where did the idea for this come from? Jonathan's voice first arose just as I was entering the heavy-lifting phase of eldercare with my parents. It helped me through many a rough day in the nursing homes, hospitals, and rehab centers which have become such a regular part of my routine. I remember feeling kind of overwhelmed, sitting in the Cambridge Public Library, flipping through Aubrey's Brief Lives . It's a series of short, gossipy biographical sketches, written in the 17th century, about various acquaintances and contemporaries of Aubrey's, including people like Milton and the poet Lovelace. While reading, I "heard" a voice making all kinds of wisecracks, prying between the lines of what Aubrey wrote and what he actually meant to communicate. The voice made me laugh, something I really needed at the time. Once I had tuned into that voice, I kept wanting to know what it might say about X or Y....It was the narrator's sassiness that appealed to me. His shoot-from-the-hip attitude helped keep up my spirits while surrounded by the responsibilities and inevitable sadnesses associated with the aging of loved ones. As I was writing, the Occupy Movement was unfolding here, with many echoes around the world. A new generation of young people was beginning to take part in the remaking of our planet--a thing our earth sorely needs. I was thrilled. Jonathan, though far from the front lines, became a spiritual fellow-traveler with his peers worldwide. That's why the book is dedicated "to the rebel soul in everyone." What are some of the challenges that come with writing from the POV of a fifteen year old? He's not just any fifteen year old! He's a scion of privilege, who has grown up in one of the most exclusive and elitist enclaves in the world. His father is a WASP; his mother is a secular Jew. In short, he's a lot farther from me than many readers will understand. In many ways, he's farther from me than Mme X, a middle-aged British Jew who lived through the London blitz, whose voice I assumed in my last novel, The House of Widows. If Jonathan's world was completely foreign to me, his hometown of Cambridge, where I arrived in 1976, was once a good place in which to be poor. I used to bounce checks regularly at the Evergood Market, which I learned recently is owned by the family of Peter Segal, who does that show Wait Wait Don't Tell Me on the radio. I'd walk in and find my check tacked to a bulletin board next to the cash register for all to see. Yet the owners always let me redeem it, and continued taking checks from me even though--and I'm not exaggerating--for a time, every other one bounced.... So, for me to write in the voice of a child who'd grown up inside all this privilege was in a way my attempt to find out if I had put my prejudices behind me. Could I see the world through his eyes? Could I empathize with him, despite his privileges? Whether or not I've succeeded is of course for readers to decide for themselves. For all that, in a funny way this feels like my most personal book. Aside from my delight at inhabiting the skin of the randy fifteen year old, there were things I felt able to say...or that I heard myself saying, which I'd never imagined getting into. It helps that Jonathan's a rebel, and not a snob. When his professor-father tells him to write a history of literature in the age of Twitter, Smedley responds by focusing on a quite unusual list of writers . I've heard that some people have been puzzled by the writers Jonathan picks for his essay. Certainly they're not the usual suspects. It would have been easy, and tempting, as well as perhaps more commercially savvy, to pick the familiar and the enshrined: Woolf, Borges, Calvino, Sebald, etc. These are the "cool" international writers properly beloved by readers. But they are just part of the story. There are many others equally worthy of our attention. You might call part of the book's secret project both an attempt at rethinking our received ideas about the classics, as well as a bit of fun had with the whole notion of a conclusive list of "the great books." The hierarchies which haunt so many aspects of our contemporary civilization, always expressed in numerical terms--top ten lists, our fifty richest people, our hundred best restaurants, etc--are rarely, if ever, definitive. But the list is far from arbitrary--and was, in earlier drafts, a lot longer. In fact, most of the writers Jonathan selects were rebels of one sort or another, from the 17th century courtier Richard Lovelace, who wrote what's perhaps the greatest prison poem in the language ("Stone walls do not a prison make...) to Agnes Smedly, born dirt-poor in poor in Osgood, Missouri, to a coal-miner father, who began her career as a school teacher in rural Colorado and wound up as an international correspondent writing for papers in Germany, France, China, India and the US. She fell in love with an Indian spy, taught Mao to dance, lived for years at Yaddo, a writer's colony in upstate New York, but died broke in London, and is buried in Beijing. I think of her as a kind of early version of Amy Goodman/Terry Gross hybridized with Martha Gellhorn. Like most kids his age, Jonathan is totally immersed in the virtual world. Yes, he spends a lot of his time online. But in the last part of the book, he leaves his iPad at home, and then he loses his cell phone. When he finally faces Beyah, who he believes is the object of his desire, he's essentially naked. It's just one human being facing another--no texting, no screens. Though he's grown up in a world of icons and endless visual stimulation, he gradually discovers the singular power of presence, print, and, even, inwardness. Despite Jonathan's protestations, this does indeed seem like a coming of age story. Yes and no. I kind of agree with Jonathan when he says that no one comes of age anymore. Okay, most people do settle on a self and stick with it. At the same time, we are porous beings and invaders are boring into us from all sides. Despite our privileges and first-world advantages--or because of them--we're incredibly vulnerable to the temptations of consumerism, among other things. At the same time, I have high hopes that Jonathan, having felt the consequences of his family's instability, will move through life a little more aware of the ways in which our actions ripple out and affect others.
Product price: $14.95
Product brand: Visit Amazon's Askold Melnyczuk Page
Target attributes: Type
Answer: attribute: type
value: fiction
source: product description