Lisa Robertson

Alan and Lisa Robertson, members of America's favorite back woods family and the Duck Commander Clan, take on the topic of relationships as they share the secrets that saved their marriage. Infidelity, deceit, distrust, and shame. Unfortunately, these are recurring themes in many of today's marriages in America--even in the family-values-promoting, Christian-based Robertson family. With a romance that began in junior high, the couple got off to a rocky start but soon settled into married life and had two baby girls. Alan became a pastor in the church where his family had been members for years. Then, when Lisa had an affair, the heartache and the tension was very public. But this is not a book about a marriage gone wrong. It is a candid story of rescued love and renewed commitment. After nearly getting divorced, Alan and Lisa came to terms with what went wrong in their marriage and both began the hard work of making it right. Now married for twenty-nine years, Alan and Lisa counsel couples in trouble and speak across the country--openly sharing their hardships, their journey to renewed commitment, and a thriving marriage.

Med Vädret introduceras ett av den kanadensiska poesin mest omtalade namn, Lisa Robertson, som inte sällan berör politiska ämnen som genusfrågor och nationalism och utmanar genre och form, på svenska i översättning av Niclas Nilsson. I detta långpoem i sju delar så blandas uttryck från väderprognoser upp med radikala kvinnoöden från historien. En vild och intensiv poesi som för samman den genomlevda erfarenheten med tankelekar.

A lost river, a lost aunt, a found literary life: from the cult-favourite poet and author of The Baudelaire Fractal comes a glittering and erudite new novel of Paris. Some ruins are invisible. Under the pavements of Paris there lies buried an ancient river, the Bievre. For years, our narrator has walked along these streets, unaware of the water and history under her feet, on her way to clean the apartments of Paris's academic class. As she begins to study and transcribe the inherited notebooks and papers of her great-aunt, a teacher and researcher who disappeared years earlier, she commits to continuing her aunt's youthful research on the Bievre, mining the river's documentary traces in the works of Rousseau, Rabelais, Hugo, Chateaubriand, and the like. She uncovers a history of industry: paper mills, dyeing workshops, tanneries, and textile manufacturers and laundries. She finds resonances of her own labour in the history of the river's laundresses. On stolen time at work, and in her insomniac hours of nightwriting, she fills notebooks with these woven stories and descriptions of obsolete sites, textiles, cosmologies, and voices, constructing her own forms of relation with the lost. Riverwork unearths not just an urban river but also a philosophy of research and the archive, a politics of hydrology, an ontology of ageing and belatedness, and a consideration of the unrepresented labour of women, past and present. Along the way it brings to life, in pyrotechnic prose, a long-gone Paris and both its domestic workers and its writers.

Baudelairefraktalen är Lisa Robertsons första roman, i vilken huvudpersonen, Hazel Brown, en morgon vaknar upp på ett hotellrum och inser att hon är upphovspersonen till Charles Baudelaires samlade verk. "Efter en lång frånvaro hade jag nu återvänt till Vancouver som besökare. Jag hade hållit min föreläsning om kringströvande, skräddarsömnad, sysslolöshet och tvivel. Jag hade pratat, festat, sovit. Morgonen därpå, ensam på hotellet, vaknade jag med den kroppsliga insikten att jag hade blivit författaren till Baudelaires samlade verk. Till och med de oskrivna texterna, anteckningarna och utkasten som begrundats och lagts åt sidan, och likaså all brevväxling, missarna och de felslagna ansatserna och övergivna verserna, dagboksanteckningarna: jag skrev dem." (ur Baudelairefraktalen) Lisa Robertson är poet och författare, född i Kanada och idag bosatt i Frankrike. Hon har bland annat skrivit böckerna Boat, Anemones: A Simone Weil Project, Cinema of the Present, Nilling, The Weather (Vädret), Occasional Works and Seven Walks from the Office for Soft Architecture, Debbie: An Epic och XEclogue.

The debut novel by acclaimed poet Lisa Robertson, in which a poet realizes she's written the works of Baudelaire.

LONGLISTED FOR THE PAT LOWTHER MEMORIAL AWARDFrom the author of The Baudelaire Fractal, a poetry classic, with new work In 2004, boldly original poet Lisa Robertson published a chapbook, Rousseau’s Boat, poems culled from years of notebooks that are, nevertheless, by no means autobiographical. In 2010, she expanded the work into a full-length book, R’s Boat. During the pandemic, she was drawn back into decades of journals to shape Boat. These poems bring fresh vehemence to Robertson’s ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself. “Robertson has quietly but surely emerged as one of our most exciting and prolific philosophers—I mean poets. Interested in architecture, weather systems, fashion, autobiography, gender, the classics, and just about everything else, she manages to irradiate her subjects with calm, wit, and astonishing beauty. Robertson’s style is both on splendid display and under fierce interrogation in her latest book, R’s Boat.” —Kenyon Review “In R’s Boat, Robertson has penned a post-conceptual, post-lyric, relentlessly self-examining performance of memory and sincerity that manages, remarkably, to be both theoretically concerned and deeply emotive.” —Harvard Review “R's Boat grapples with form, the constraint of language and tradition, and the challenge to avoid anything that might exist as template. The poems examine feminism, discourse, the body, and poetry itself through sumptuous, seductive language.” —American Poets

Explores radical designs for the home in the nineteenth-century metropolis and the texts that shaped themUncovers a series of innovative housing designs that emerged in response to London's rapid growth and expansion throughout the nineteenth century Brings together the writing of prominent authors such as Charles Dickens and George Gissing with understudied novels and essays to examine the lively literary engagement with new models of urban housing Focuses on the ways that these new homes provided material and creative space for thinking through the relationship between home and identity Identifies ways in which we might learn from the creative responses to the nineteenth-century housing crisis This book brings together a range of new models for modern living that emerged in response to social and economic changes in nineteenth-century London, and the literature that gave expression to their novelty. It examines visual and literary representations to explain how these innovations in housing forged opportunities for refashioning definitions of home and identity. Robertson offers readers a new blueprint for understanding the ways in which novels imaginatively and materially produce the city's built environment.

The debut novel by acclaimed poet Lisa Robertson, in which a poet realizes she's written the works of Baudelaire. One morning, Hazel Brown awakes in a badly decorated hotel room to find that she’s written the complete works of Charles Baudelaire. In her bemusement the hotel becomes every cheap room she ever stayed in during her youthful perambulations in 1980s Paris. This is the legend of a she-dandy’s life. Part magical realism, part feminist ars poetica, part history of tailoring, part bibliophilic anthem, part love affair with nineteenth-century painting, The Baudelaire Fractal is poet and art writer Lisa Robertson’s first novel. "Robertson, with feminist wit, a dash of kink, and a generous brain, has written an urtext that tenders there can be, in fact, or in fiction, no such thing. Hers is a boon for readers and writers, now and in the future."—Jennifer Krasinski, Bookforum "It’s brilliant, strange, and unlike anything I’ve read before."—Rebecca Hussey, BOOKRIOT

Hur ser litteraturen och konsten ut i bildflödenas era? Hur behåller konsten sin samhällskritiska udd? I 10TALs nya nummer möter vi ett antal bildstormare och diskuterar relationen mellan skönlitterär text och bildkonst. Lär känna den nya Katarina Frostenson i en stor essä av kritikern Victor Malm och möt konstnären Karin Mamma Andersson och poeten Joar Tiberg i ett samtal signerat Elis Burrau. – Vad är färg? Den kanadensiska författaren Lisa Robertson undersöker färgernas skiftande kulturhistoria och metafysik i en poetisk essä. Konstkritikern Dan Jönsson om bilden och textens koppling: När bilden trubbar av står bokstaven stark. Matilda Södergran om den amerikanske poeten Theodore Roethke, walesiska Deryn Rees-Jones och den portugisiska konstnären Paula Rego. Carl Fredrik Hill-diktningen i svensk modern poesi kartläggs av författaren Kristofer Flensmarck. Litterär debutant är Linnéa Sjödin.

Recite your poem to your aunt. I threw myself to the ground. Where were you in the night? In a school among the pines. What was the meaning of the dream? Organs, hormones, toxins, lesions: what is a body? In 3 Summers, Lisa Robertson takes up her earlier concerns with form and literary precedent, and turns toward the timeliness of embodiment. What is form's time? Here the form of life called a poem speaks with the body's mortality, its thickness, its play. The 10 poem-sequences in 3 Summers inflect a history of textual voices -- Lucretius, Marx, Aby Warburg, Deleuze, the Sogdian Sutras -- in a lyricism that insists on analysis and revolt, as well as the pleasures of description. The poet explores the mysterious oddness of the body, its languor and persistence, to test how it shapes the materiality of thinking, which includes rivers and forests. But in these poems' landscapes, the time of nature is inherently political. Now only time is wild, and only time -- embodied here in Lisa Robertson's forceful cadences -- can tell. 'Robertson proves hard to explain but easy to enjoy... Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt... She wields language expertly, even beautifully. '--The New York Times 'Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture.'-- The Village Voice Lisa Robertson's books include Cinema of the Present, Debbie: An Epic, The Men, The Weather, R's Boat and Occasional Works and Seven Walks from the Office for Soft Architecture. Lisa Robertson's Magenta Soul Whip was named one of The New York Times' 100 Notable Books. She lives in France.

With the ongoing popularity of A&E's Duck Dynasty, the much-loved Robertson family has more to share about family, faith, and love than ever before. Alan (the beardless brother) and his wife Lisa have created a devotional combining their hard-won wisdom about love and marriage to help bring couples closer together and closer to God. Alan and Lisa Robertson had a failing marriage. But with unwavering faith and the unconditional love of their ever-present family, they got through the tough times and rekindled their love. Now the Robertsons want to share what they've learned. Combining the spiritual with the practical, The Duck Commander Devotional for Couples has a simple purpose: to bring couples closer to God and to each other. Designed with busy couples in mind, this devotional encourages husbands and wives to set aside time weekly to enhance their relationship. Spending spiritually meaningful time together every day is often impossible, but Al and Lisa arranged this devotional with realistic goals, allowing you to experience success and the desire to meet together regularly. Each devotional includes inspirational messages, relevant scriptures, thoughtful questions, and prayer suggestions. Whether you are happy in your marriage or struggling to hold it together, setting aside time to focus on each other and deepen your connections will improve your relationship and bring you closer to God.

"Robertson proves hard to explain but easy to enjoy... Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt... She wields language expertly, even beautifully."--The New York Times What if the cinema of the present were a Mobius strip of language, a montage of statements and questions sutured together and gradually accumulating color? Would the seams afford a new sensibility around the pronoun "you"? Would the precise words of philosophy, fashion, books, architecture, and history animate a new vision, gestural and oblique? Is the kinetic pronoun cinema? These and other questions are answered in the new collection from acclaimed poet and essayist Lisa Robertson. The book is available with four different back covers, designed by artists Hadley+Maxwell. A quorum of crows will be your witness. And if you discover you were bought? You note the smell of rain, bread, and exhaust mixed with tiredness. And if you yourself are incompatible with your view of the world? And what is the subject but a stitching? Once again you are the one who promotes artifice. At 2 am on Friday, you burn with a maudlin premonition. And rankings and rankings and badges and repetitions. Lisa Robertson's book Lisa Robertson's Magenta Soul Whip was named one of the New York Times 100 Notable Books of 2010 and was longlisted for the 2011 Warwick Prize. Her other books include Debbie: An Epic, The Men, The Weather, and Occasional Work and Seven Walks from the Office for Soft Architecture. She is the 2014 Bain Swiggett Professor at Princeton University.

"I have tried to make a sketch or a model in several dimensions of the potency of Arendt's idea of invisibility, the necessary inconspicuousness of thinking and reading, and the ambivalently joyous and knotted agency to be found there. Just beneath the surface of the phonemes, a gendered name rhythmically explodes into a founding variousness. And then the strictures of the text assert again themselves. I want to claim for this inconspicuousness a transformational agency that runs counter to the teleology of readerly intention. Syllables might call to gods who do and don't exist. That is, they appear in the text's absences and densities as a motile graphic and phonemic force that abnegates its own necessity. Overwhelmingly in my submission to reading's supple snare, I feel love." Nilling is a sequence of 6 loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading. Lisa Robertson applies an acute eye to the subject of reading and writing—two elemental forces that, she suggests, cannot be separated. For Robertson, a book is an intimacy, and with keen and insightful language, Nilling's essays build into a lively yet close conversation with Robertson's "masters": past writers, philosophers, and idealists who have guided her reading (and writing) practice to this point. If "a reader is a beginner," then even regular readers of Robertson's kind of deep thinking will delight in the infinite folding together of concepts—the codex, pornography, melancholy, cities—that on their own may seem banal, but in their twisting intertextuality, make for a scintillating study of reading as a deep engagement.

This delectable book collects the rococo prose of Lisa Robertson. There are essays -- many originally published as catalogue texts by art galleries -- on the syntax of the suburban home, Vancouver fountains, Value Village, the joy of synthetics, scaffolding and the persistence of the Himalayan blackberry. It makes for one of the most intriguing books you'll ever read.

In Vancouver as the dark winter tapered into springI undertook to singMy life my body these wordsThe men from a perspective. The Men is a work that will be both familiar and fresh to anyone who has read Lisa Robertson. As a poet Robertson has received unrivaled praise for her uncompromising intelligence and style. The Men will not only compliment her previous work, but will add a new layer as a far more personal and lyrical book than anything she has yet published. Who are the men? The Menare a riddle. What do they want? Their troubles become lyric. The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Cavalcanti, Dante's works on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey—a subjectivity that honours all the ambivalence, doubt, and tenderness of the human. Yet she remains angered by the structure of gender these works advance. It is this troubled texture of identification that she examines in The Men. How does a woman of the present century see herself, in men's lyric texts of the renaissance, in the tradition of the philosophy of the male subject, as well as in the men that surround her, obfuscating, dear, idiotic and gorgeous as they often seem? What if "she" wrote "his" poems? At once intimate and oblique, humorous and heartbreaking, composed and furious, The Men seeks to defamiliarize both who, and what men are.

A New York Times Notable Book of 2010 Longlisted for the Warwick Writing Prize Verses, essays, confessions, reports, translations, drafts, treatises, laments and utopias, 1995--2007. Collected by Elisa Sampedrin. Lisa Robertson writes poems that mine the past -- its ideas, its personages, its syntax -- to construct a lexicon of the future. Her poems both court and cuckold subjectivity by unmasking its fundament of sex and hesitancy, the coil of doubt in its certitude. Reading her laments and utopias, we realize that language -- whiplike -- casts ahead of itself a fortuitous form. The form brims here pleasurably with dogs, movie stars, broths, painting's detritus, Latin and pillage. Erudite and startling, the poems in Lisa Robertson's Magenta Soul Whip, occasional works written over the past fifteen years, turn vestige into architecture, chagrin into resplendence. In them, we recognize our grand, saddened century.