Anne Carson

A novel in verse bridges the gap between modernity and classicism with a story about a winged red monster named Geryon, who retreats into the world of photography after losing a male lover.

A Novel in Verse

Autobiography of Red

This clear-eyed, brutal, moving, darkly funny book tells a single story in an immediate, accessible voice–29 “tangos” of narrative verse that take us vividly through erotic, painful, and heartbreaking scenes from a long-time marriage that falls apart. Only award-winning poet Anne Carson could create a work that takes on the oldest of lyrical subjects–love–and make it this powerful, this fresh, this devastating

A Fictional Essay in 29 Tangos

The Beauty of the Husband

Anne Carson’s first original work since Float (Knopf, 2016) Published here in a stunning edition with images created by Carson, several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. As Carson writes: “Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night. The pieces are not linked. That's why I've called them ‘wrong.’"

Wrong Norma

A canadense Anne Carson é uma das autoras mais reconhecidas da atualidade, seja como helenista, tradutora, ensaísta ou poeta. Autobiografia do vermelho, seu livro mais conhecido, reúne todas essas facetas ao recriar, nos nossos tempos, o mito grego de Gerião, um monstro vermelho a quem Héracles teve de exterminar para assim cumprir um de seus doze trabalhos. Sob o signo de Gertrude Stein, Emily Dickinson e do obscuro Estesícoro, primeiro poeta a tratar em formas líricas o mito de Gerião nos séculos VII-VI a.C., Carson compôs este “romance em versos”, transformando Gerião em um menino sensível e absorto que vivencia uma intensa relação amorosa com Héracles — um bravo experimento formal recriado com arrojo na bela tradução de Ismar Tirelli Neto.

Um romance em versos

Autobiografia do vermelho

The Gender of Sound

Variaciones sobre el derecho a guardar silencio

Wygłosy (Autobiografia czerwonego)

El ensayo de cristal

Lediga män

Makens skönhet 

Kort sagt

Flota

Tipos de agua

Troisième livre publié d’Anne Carson, "Verre, Ironie et Dieu" propose un ensemble de textes aux genres variés, tous traversés par une même perspective critique et féministe : récit en vers (mêlant une relecture des Hauts de Hurlevent à des scènes de vie quotidienne), poèmes théologico-philosophiques, reportage parodique, pseudo-guide de voyage, imitation d’un texte biblique, essai théorique… Dans "Le genre des sons" qui clôt le livre, Anne Carson s’interroge sur les valeurs morales prêtées traditionnellement aux sons, et particulièrement aux voix féminines si souvent décriées. Appuyée sur la lecture de textes antiques, l’analyse qu’elle y mène éclaire rétrospectivement tout le livre : « C’est en grande partie d’après les sons qu’émettent les gens que nous les jugeons sains d’esprit ou fous, masculins ou féminins, bons, mauvais, fiables, dépressifs, mariables, moribonds, susceptibles ou non de nous faire la guerre, à peine supérieurs à des animaux, inspirés par Dieu. »

À la lecture de ces quelques lignes et de l’ensemble de ce livre paru, en anglais, pour la première fois en 1995 et, en français, en 2004 aux éditions Corti dans la traduction de Claire Malroux, on mesure, quelques décennies plus tard, l’importance de sa vision novatrice aussi bien pour les études de genre que pour les approches poétiques contemporaines.

Née en 1950 à Toronto, Anne Carson est l’autrice d’une œuvre majeure mêlant poésie, prose et non-fiction.

Verre, Ironie et Dieu

Gérüón története így fájdalmas vallomás – ahogy ma mondják – coming out lesz, és a magára találás véres, verejtékes története. A románc műfaji megjelölést viselő Vörös önéletrajza sajátos szerkezetű mű, amit egy rövid esszé (Vörös hús: mit adott Sztészikhorosz a világnak?) vezet be, ezután olvasható a 47 részes románc, a szabad versekből épített regény, végül lezárásként található egy fiktív interjú az ógörög szerzővel, Szztészikhorosszal (Interjú). A verses regény szövegében számos vendégszöveg is található Gertrude Steintől, Heideggertől, Emily Dickinsontól, Walt Whitmantól. A hosszú és rövid sorok izgalmas váltakozásától dinamizált szöveg stílusa is sokszínű: egyszerre érzéki és vicces, szívbe markoló és gyöngéd, mégis az egész – miképp az ókori mű – valahogy a töredékesség érzetét kelti az olvasóban. A Szappho-fordítóként, esszéíróként, költőként hírnévre szert tett Anne Carson kötetéhez Krusovszky Dénes írt eligazító utószót. "www.kello.hu © minden jog fenntartva"

verses regény

Vörös önéletrajza

Sophocles

Antigone

"In her first collection in five years, Anne Carson contemplates decreation an activity described by Simone Weil as undoing the creature in us an undoing of self. But how can we undo self without moving through self, to the very inside of its definition? Where else can we start? Anne Carson s Decreation starts with form the undoing of form. Form is various here- opera libretto, screenplay, poem, oratorio, essay, list, montage. The undoing is tender, but tenderness can change everything, or so the author appears to believe. By turns exhilarating and bewildering, lucid and hermetic, Anne Carson is a maverick with a thrilling range of skills. As Charles Simic says, Carson takes risks, subverts literary conventions, and plays havoc with our expectations. She is a wonder- an unconventional, often difficult poet who has a huge following among today s readers of poetry and whose work has been honoured with our most prestigious literary awards.

Poetry, Essays, Opera

Decreation

Named one of the 100 best nonfiction books of all time by the Modern Library Anne Carson’s remarkable first book about the paradoxical nature of romantic love Since it was first published, Eros the Bittersweet, Anne Carson’s lyrical meditation on love in ancient Greek literature and philosophy, has established itself as a favorite among an unusually broad audience, including classicists, essayists, poets, and general readers. Beginning with the poet Sappho’s invention of the word “bittersweet” to describe Eros, Carson’s original and beautifully written book is a wide-ranging reflection on the conflicted nature of romantic love, which is both “miserable” and “one of the greatest pleasures we have.”

An Essay

Eros the Bittersweet

Internationally celebrated poet Anne Carson's critically acclaimed follow-up to her highly successful Autobiography of Red, which takes its mythic boy-hero into the twenty-first century to tell a story all its own of love, loss, and the power of memory. For Carson's substantial following and general poetry readers. To live past the end of your myth is a perilous thing. In this stunningly original mix of poetry, drama, and narrative, Anne Carson brings the red-winged Geryon from Autobiography of Red, now called "G," into manhood, and through the complex labyrinths of the modern age. We join him as he travels with his friend and lover Sad (short for "Sad But Great"), a haunted war veteran; and with Ida, an artist, across a geography that ranges from plains of glacial ice to idyllic green pastures; from a psychiatric clinic to the somber housewhere G's mother must face her death. Haunted by Proust, juxtaposing the hunger for flight with the longing for family and home, this deeply powerful verse picaresque invites readers on an extraordinary journey of intellect, imagination, and soul.

Anne Carson

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