Autobiography of Red

Zusatztext "This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro "A profound love story...sensuous and funny! poignant! musical and tender." -- The New York Times Book Review "A deeply odd and immensely engaging book.... [Carson] exposes with passionate force the mythic underlying the explosive everyday." -- The Village Voice Informationen zum Autor ANNE CARSON was born in Canada and has been a professor of Classics for over thirty years. Her awards and honors include the Lannan Award, the Pushcart Prize, the Griffin Trust Award for Excellence in Poetry, and fellowships from the Guggenheim and MacArthur Foundations. Klappentext The award-winning poet reinvents a genre in a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present. Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is. A NEW YORK TIMES NOTABLE BOOK OF THE YEAR National Book Critics Circle Award Finalist "Anne Carson is, for me, the most exciting poet writing in English today." --Michael Ondaatje "This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro "A profound love story . . . sensuous and funny, poignant, musical and tender." --The New York Times Book Review "A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday." --The Village VoiceRED MEAT: WHAT DIFFERENCE DID STESICHOROS MAKE? I like the feeling of words doing as they want to do and as they have to do. GERTRUDE STEIN He came after Homer and before Gertrude Stein, a difficult interval for a poet. Born about 650 B.C. on the north coast of Sicily in a city called Himera, he lived among refugees who spoke a mixed dialect of Chalcidian and Doric. A refugee population is hungry for language and aware that anything can happen. Words bounce. Words, if you let them, will do what they want to do and what they have to do. Stesichoros' words were collected in twenty-six books of which there remain to us a dozen or so titles and several collections of fragments. Not much is known about his working life (except the famous story that he was struck blind by Helen; see Appendixes A, B, C). He seems to have had a great popular success. How did the critics regard him? Many ancient praises adhere to his name. "Most Homeric of the lyric poets," says Longinus. "Makes those old stories new," says Suidas. "Driven by a craving for change," says Dionysios of Halikarnassos. "What a sweet genius in the use of adjectives!" adds Hermogenes. Here we touch the core of the question "What difference did Stesichoros make?" A comparison may be useful. When Gertrude Stein had to sum up Picasso she said, "This one was working." So say of Stesichoros, "This one was making adjectives." What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning "placed on ...

Auteur
ANNE CARSON was born in Canada and has been a professor of Classics for over thirty years. Her awards and honors include the Lannan Award, the Pushcart Prize, the Griffin Trust Award for Excellence in Poetry, and fellowships from the Guggenheim and MacArthur Foundations.

Texte du rabat

The award-winning poet reinvents a genre in a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present.

Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is.

A NEW YORK TIMES NOTABLE BOOK OF THE YEAR
National Book Critics Circle Award Finalist

"Anne Carson is, for me, the most exciting poet writing in English today." --Michael Ondaatje

"This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro

"A profound love story . . . sensuous and funny, poignant, musical and tender." --The New York Times Book Review

"A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday." --The Village Voice

Échantillon de lecture
RED MEAT:

WHAT DIFFERENCE DID STESICHOROS MAKE?

I like the feeling of words doing
as they want to do and as they have to do.
GERTRUDE STEIN

He came after Homer and before Gertrude Stein, a difficult interval for a poet. Born about 650 B.C. on the north coast of Sicily in a city called Himera, he lived among refugees who spoke a mixed dialect of Chalcidian and Doric. A refugee population is hungry for language and aware that anything can happen. Words bounce. Words, if you let them, will do what they want to do and what they have to do. Stesichoros' words were collected in twenty-six books of which there remain to us a dozen or so titles and several collections of fragments. Not much is known about his working life (except the famous story that he was struck blind by Helen; see Appendixes A, B, C). He seems to have had a great popular success. How did the critics regard him? Many ancient praises adhere to his name. "Most Homeric of the lyric poets," says Longinus. "Makes those old stories new," says Suidas. "Driven by a craving for change," says Dionysios of Halikarnassos. "What a sweet genius in the use of adjectives!" adds Hermogenes. Here we touch the core of the question "What difference did Stesichoros make?" A comparison may be useful. When Gertrude Stein had to sum up Picasso she said, "This one was working." So say of Stesichoros, "This one was making adjectives."

What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning "placed on top," "added," "appended," "imported," "foreign." Adjectives seem fairly innocent additions but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.

Of course there are several different ways to be. In the world of the Homeric epic, for example, being is stable and particularity is set fast in tradition. When Homer mentions blood, blood is black. When women appear, women are neat-ankled or glancing. Poseidon always has the blue eyebrows of Poseidon. Gods' laug…