Lydia Davis

Vad är egentligen en granne - är det en främling, vän eller fiende? Begreppet väcker funderingar kring integritet och civilkurage, men det berör även ämnen som gemenskap, utanförskap och gränser. Hur förhåller vi oss till våra grannar? I Novellix Grannar har nio författare - fyra svenska och fem internationella - fritt tolkat detta tema. Resultatet är nio noveller med nio unika omslag skapade av konstnären Karin Mamma Andersson. Böckerna är samlade i en fin presentbox och rymmer berättelser om samhörighet och främlingskap, där erfarenheter både kan föra oss samman och skilja oss åt. Alla är vi grannar med varandras liv. Boxen innehåller nio böcker: Aris Fioretos - Rapport från den täta världenAugustin Erba - HiwaElsie Johansson - Höra stenarna sjungaLars Norén - De sista rummenKim Thúy - HitomiMerethe Lindström - Ödelagda städerKjell Westö - Midsommar med herr LaaksoJosefine Klougart - RegnLydia Davis - Våra främlingar"Lyx. Att bara ta i de här nio små häftena och på varje titelsida få en nygjord bild av konstnären Karin Mamma Andersson, ett unikt träsnitt för varje bok, ger mig små stötar av estetisk vällust." Dagens Nyheter"Grannar är liksom den digra namnlistan på omslaget garanterar en samling högkvalitativa texter som visar på prosans mångfald." Sydsvenskan"Det är en gottepåse utan botten. Innehållet kan konsumeras gång på gång på gång. Petas ner i handväskan och plockas fram på bussen hem från jobbet. I dag, imorgon, närhelst det passar. Som en brustablett av litteratur som bara finns där, alltid redo. Så himla genialt." Skånska Dagbladet"Oftast läser man novellsamlingar där en författare skrivit alla noveller, men att läsa nio vitt skilda noveller var verkligen en upplevelse. Dessutom håller samtliga en hög kvalitet." Kommunalarbetaren"Tillsammans bildar de nio kloka och subtila bidragen en mångfacetterad, växelvis sorglig och rolig karta över grannlandskapets oundvikliga problem." WeekendavisenFörord av Jan Gradvall. Idé & projekt: Margareta Petersson.

Lydia Davis returns with a timeless collection of essays on literature and language. 'Precise, concentrated, lyrical. No one writes like Lydia Davis, and everyone should read her' Hanif Kureishi 'A writer as mighty as Kafka, as subtle as Flaubert, and as epoch-making, in her own way, as Proust' Ali Smith Lydia Davis gathered a selection of her non-fiction writing for the first time in 2019 with Essays. Now, she continues the project with Essays Two, focusing on the art of translation, the learning of foreign languages through reading, and her experience of translating, amongst others, Flaubert and Proust, about whom she writes with an unmatched understanding of the nuances of their styles. Every essay in this book is a revelation.

From the International Man Booker Prize-winning author of Can't and Won't and The End of the Story - a crystalline collection of literary essays for fans of Susan Sontag and Joan Didion'Among my most favourite writers. Read her now!' A. M. Homes The visionary, fearless Lydia Davis presents a dazzling collection of essays on reading and writing, exploring the full scope of possibility within existing forms of literature and considering how we might challenge and reinvent these forms. Through Thomas Pynchon, Michel Leiris, Maurice Blanchot, Lucia Berlin, Joan Mitchell and others, he author considers her many creative influences. And, through these lenses, she returns to her own writing process, her relationship to language and the written word. Beautifully formed, thought-provoking, playful and illuminating, these pieces are a masterclass in reading and writing.

An illuminating reflection on the creative process from acclaimed fiction writer, essayist, and translator Lydia Davis When asked why she writes, Lydia Davis confesses that the question makes her uncomfortable. Maybe she would rather not know. Instead, Davis considers how she writes her stories, how other writers write, and what insights the how might provide into the why. In this free-ranging exploration, Davis discovers that one reason she writes is for pleasure: the pleasure of encountering something that demands to be treated in language, of handling and manipulating the language into the form it ought to take, and, finally, of seeing a story exist where it didn’t exist before. As she observes the processes of some of the authors who interest her the most, she finds that there seem to be as many reasons to write as there are writers: to relive an experience, to share an experience, to articulate something one has not quite comprehended. Reflecting on an eclectic mix of thinkers, including James Baldwin, Kate Briggs, Walter Raleigh, Christina Sharpe, Knut Hamsun, Grace Paley, Josep Pla, John Ashbery, and John Clare, Davis undertakes a clear-eyed, patient inquiry into the manifold reasons we choose to put pen to paper and begin something new.

Chéri and its sequel, The End of Chéri, mark Colette’s finest achievements in their brilliant, subtle, and frank investigations of love and power. Set in the Parisian demimonde in the last days of the Belle Époque, Chéri tells the story of Léa, a courtesan at the end of a successful career, and her lover, the beautiful but emotionally opaque Chéri. Chéri will soon enter into an arranged marriage, ending their six-year affair, which—they will each realize too late—has been the one real love of their lives. The End of Chéri picks up their story in the aftermath of the First World War. Chéri, now a decorated soldier, has returned from the trenches to a changed world. Emotionally estranged from his independent and unfaithful wife, a psychically wounded Chéri begins an inexorable descent—one that leads him back to a stunning encounter with Léa. As the acclaimed writer and translator Lydia Davis puts it in an illuminating foreword, Rachel Careau’s “brilliantly ingenious, close new translation” reveals Chéri and The End of Chéri as “the strangest of love stories.” Colette skillfully portrays her characters’ shifting inner lives and desires amid a clear-eyed depiction of interpersonal power dynamics. Careau’s lean, attentive translation restores to these classic novels their taut, remarkably modern style—the essence of Colette’s genius.

A FINANCIAL TIMES BOOK OF THE YEAR: FICTION 'A trailblazer in the world of short-form prose' New YorkerLydia Davis is a virtuoso at detecting the seemingly casual, inconsequential surprises of daily life and pinning them for inspection. In Our Strangers, conversations are overheard and misheard, a special delivery letter is mistaken for a rare white butterfly, toddlers learning to speak identify a ping-pong ball as an egg and mumbled remarks betray a marriage. In the glow of Davis's keen noticing, strangers can become like family and family like strangers. Our Strangers is a fascinating collection that confirms the genius of a writer whose every attention is transformative.

A FINANCIAL TIMES BOOK OF THE YEAR 2023: FICTION 'A trailblazer in the world of short-form prose' New YorkerLydia Davis is a virtuoso at detecting the seemingly casual, inconsequential surprises of daily life and pinning them for inspection. In Our Strangers, conversations are overheard and misheard, a special delivery letter is mistaken for a rare white butterfly, toddlers learning to speak identify a ping-pong ball as an egg and mumbled remarks betray a marriage. In the glow of Davis's keen noticing, strangers can become like family and family like strangers. Our Strangers is a fascinating collection that confirms the genius of a writer whose every attention is transformative.

The first four collections in our revitalized Poetry Pamphlet series, established to highlight original work from writers around the world as well as forgotten treasures lost in the cracks of literary history. Included are: Two American Scenes: Our Village & A Journey on the Colorado River, by Lydia Davis and Eliot Weinberger; Sorting Facts, or Nineteen Ways of Looking at Chris Marker, by Susan Howe; The Helens of Troy, New York, by Bernadette Mayer; and Pneumatic Antiphonal, by Sylvia Legris.

A collection of essays on translation, foreign languages, Proust, and one French city, from the master short-fiction writer and acclaimed translator Lydia Davis In Essays One, Lydia Davis, who has been called "a magician of self-consciousness" by Jonathan Franzen and "the best prose stylist in America" by Rick Moody, gathered a generous selection of her essays about best writing practices, representations of Jesus, early tourist photographs, and much more. Essays Two collects Davis's writings and talks on her second profession: the art of translation. The award-winning translator from the French reflects on her experience translating Proust ("A work of creation in its own right." --Claire Messud, Newsday), Madame Bovary (" Flaubert's] masterwork has been given the English translation it deserves." --Kathryn Harrison, The New York Times Book Review), and Michel Leiris ("Magnificent." --Tim Watson, Public Books). She also makes an extended visit to the French city of Arles, and writes about the varied adventures of learning Norwegian, Dutch, and Spanish through reading and translation. Davis, a 2003 MacArthur Fellow and the winner of the 2013 Man Booker International Prize for her fiction, here focuses her unique intelligence and idiosyncratic ways of understanding on the endlessly complex relations between languages. Together with Essays One, this provocative and delightful volume cements her status as one of our most original and beguiling writers.

Chéri and its sequel, The End of Chéri, mark Colette’s finest achievements in their brilliant, subtle, and frank investigations of love and power. Set in the Parisian demimonde in the last days of the Belle Époque, Chéri tells the story of Léa, a courtesan at the end of a successful career, and her lover, the beautiful but emotionally opaque Chéri. Chéri will soon enter into an arranged marriage, ending their six-year affair, which—they will each realize too late—has been the one real love of their lives. The End of Chéri picks up their story in the aftermath of the First World War. Chéri, now a decorated soldier, has returned from the trenches to a changed world. Emotionally estranged from his independent and unfaithful wife, a psychically wounded Chéri begins an inexorable descent—one that leads him back to a stunning encounter with Léa. As the acclaimed writer and translator Lydia Davis puts it in an illuminating foreword, Rachel Careau’s “brilliantly ingenious, close new translation” reveals Chéri and The End of Chéri as “the strangest of love stories.” Colette skillfully portrays her characters’ shifting inner lives and desires amid a clear-eyed depiction of interpersonal power dynamics. Careau’s lean, attentive translation restores to these classic novels their taut, remarkably modern style—the essence of Colette’s genius.

Lydia Davis returns with a timeless collection of essays on literature and language.'Precise, concentrated, lyrical. No one writes like Lydia Davis, and everyone should read her' Hanif Kureishi'A writer as mighty as Kafka, as subtle as Flaubert, and as epoch-making, in her own way, as Proust' Ali SmithLydia Davis gathered a selection of her non-fiction writing for the first time in 2019 with Essays. Now, she continues the project with Essays Two, focusing on the art of translation, the learning of foreign languages through reading, and her experience of translating, amongst others, Flaubert and Proust, about whom she writes with an unmatched understanding of the nuances of their styles. Every essay in this book is a revelation.

A collection of essays on translation, foreign languages, Proust, and one French city, from the master short-fiction writer and acclaimed translator Lydia Davis In Essays One, Lydia Davis, who has been called "a magician of self-consciousness" by Jonathan Franzen and "the best prose stylist in America" by Rick Moody, gathered a generous selection of her essays about best writing practices, representations of Jesus, early tourist photographs, and much more. Essays Two collects Davis's writings and talks on her second profession: the art of translation. The award-winning translator from the French reflects on her experience translating Proust ("A work of creation in its own right." --Claire Messud, Newsday), Madame Bovary (" Flaubert's] masterwork has been given the English translation it deserves." --Kathryn Harrison, The New York Times Book Review), and Michel Leiris ("Magnificent." --Tim Watson, Public Books). She also makes an extended visit to the French city of Arles, and writes about the varied adventures of learning Norwegian, Dutch, and Spanish through reading and translation. Davis, a 2003 MacArthur Fellow and the winner of the 2013 Man Booker International Prize for her fiction, here focuses her unique intelligence and idiosyncratic ways of understanding on the endlessly complex relations between languages. Together with Essays One, this provocative and delightful volume cements her status as one of our most original and beguiling writers.

Kari Hotakaisen Sanavalinta on kirjan toinen kustantaja yhdessä Siltalan kanssaIsoisoäidit unohtuvat juhlien ajaksi porstualle. Tuore äiti yrittää sisäistää elämässään tapahtuneen mullistuksen. Autokilpailussa voittavat hitaimmat ja kärsivällisimmät kuljettajat. Lydia Davisin vähäeleiset ja kielellisesti ekonomiset novellit - jotkut vainmuutaman virkkeen mittaisia - kuljettavat lukijan mustan huumorin saattelemana yllättäville ja paikoin surrealistisillekin poluille kohti ihmisyyden kummallisimpia ilmentymiä. Novellien aiheita lähestytään lähes kliinisellä selkeydellä ja järjellä, mutta henkilöhahmojen kautta lukijaa muistutetaan siitä, että elämä ja kieli ovat täynnä epäjärjestystä ja sekasortoa. Kafka valmistaa päivällistä sisältää ennen suomentamattomia novellejanovellikokoelmista Break It Down (1986), Almost No Memory (1997), SamuelJohnson Is Indignant (2001), Varietes of Disturbance (2007) ja Can't and Won't (2014). Novellit on valinnut kirjan suomentaja Aki Salmela.

A selection of essays on writing and reading by the master short-fiction writer Lydia Davis Lydia Davis is a writer whose originality, influence, and wit are beyond compare. Jonathan Franzen has called her "a magician of self-consciousness," while Rick Moody hails her as "the best prose stylist in America." And for Claire Messud, "Davis's signal gift is to make us feel alive." Best known for her masterful short stories and translations, Davis's gifts extend equally to her nonfiction. In Essays One, Davis has, for the first time, gathered a selection of essays, commentaries, and lectures composed over the past five decades. In this first of two volumes, her subjects range from her earliest influences to her favorite short stories, from John Ashbery's translation of Rimbaud to Alan Cote's painting, and from the Shepherd's Psalm to early tourist photographs. On display is the development and range of one of the sharpest, most capacious minds writing today.

From the International Man Booker Prize-winning author of Can't and Won't and The End of the Story - a crystalline collection of literary essays for fans of Susan Sontag and Joan Didion'She's a joy. There's no writer quite like her' Ali Smith 'Among my most favourite writers. Read her now!' A. M. Homes The visionary, fearless Lydia Davis presents a dazzling collection of essays on reading and writing, exploring the full scope of possibility within existing forms of literature and considering how we might challenge and reinvent these forms. Through Thomas Pynchon, Michel Leiris, Maurice Blanchot, Lucia Berlin, Joan Mitchell and others, he author considers her many creative influences. And, through these lenses, she returns to her own writing process, her relationship to language and the written word. Beautifully formed, thought-provoking, playful and illuminating, these pieces are a masterclass in reading and writing.