Fleur Jaeggy

Set in postwar Switzerland, Fleur Jaeggy's eerily beautiful novel begins simply and innocently enough: "At fourteen I was a boarder in a school in the Appenzell." But there is nothing truly simple or innocent here. With the off-handed knowingness of a remorseless young Eve, the narrator describes life as a captive of the school and her designs to win the affections of the apparently perfect new girl, Frederique. As she broods over her schemes as well as on the nature of control and madness, the novel gathers a suspended, unsettling energy. Now translated into six languages, I beati anni del castigo in its Italian original won the 1990 Premio Bagutta and the 1990 Premio Speciale Rapallo. In Tim Parks' consummate translation (with its "spare, haunting quality of a prose poem"), Sweet Days of Discipline was selected as one of the London Times Literary Supplement's Notable Books of 1992: "In a period when novels are generally over-blown and scarcely portable, it is good to be able to recommend [one that is] miraculously short and beautifully written."

Sweet Days of Discipline

A boiled-down view of family, obsession, and privilege by the icy-hot Swiss-Italian master stylist Fleur Jaeggy

The Water Statues

Gini Alhadeff

Fleur Jaeggy is often noted for her terse and telegraphic style, which brews up a haunting paradox: despite a zero-at-the-bone baseline, her fiction is intensely moving. As April Bernard commented in Newsday, how work “could be so chilly and so passionate at the same time is a puzzle, but that icy-hot quality is only one of its distinctions.” Here, in her newest collection, I Am the Brother of XX —whether the stories involve famous writers (Calvino, Ingeborg Bachmann, Joseph Brodsky) or baronesses, thirteenth-century visionaries or tormented siblings raised in elite Swiss boarding schools—Jaeggy contrives to somehow stealthily possess your mind. Her champagne gothic worlds are seething with quiet violence—and unforgettable.

stories

I Am the Brother of XX

Brief in the way a razor’s slice is brief, remarkable essays by a peerless stylist New Directions is proud to present Fleur Jaeggy’s strange and mesmerizing essays about the writers Thomas De Quincey, John Keats, and Marcel Schwob. A renowned stylist of hyper-brevity in fiction, Fleur Jaeggy proves herself an even more concise master of the essay form, albeit in a most peculiar and lapidary poetic vein. Of De Quincey’s early nineteenth-century world we hear of the habits of writers: Charles Lamb “spoke of ‘Lilliputian rabbits’ when eating frog fricassse”; Henry Fuseli “ate a diet of raw meat in order to obtain splendid dreams”; “Hazlitt was perceptive about musculature and boxers”; and “Wordsworth used a buttery knife to cut the pages of a first-edition Burke.” In a book of “blue devils” and night visions, the Keats essay opens: “In 1803, the guillotine was a common child’s toy.” And poor Schwob’s end comes as he feels “like a ‘dog cut open alive’”: “His face colored slightly, turning into a mask of gold. His eyes stayed open imperiously. No one could shut his eyelids. The room smoked of grief.” Fleur Jaeggy’s essays—or are they prose poems?—smoke of necessity: the pages are on fire.

These Possible Lives

I beati anni del castigo

Brief in the way a razor's slice is brief, remarkable essays by a peerless stylist

XXin Erkek Kardesiyim

Disiplinli Güzel Günler

Proleterka

A dementedly prim wife spies on her husband and is hammered to death by his paramour of the moment; a seemingly kind maid who mothers a wealthy orphan sets the house on fire; a retired couple are about to celebrate their 50th wedding anniversary when the husband throws himself out the window, or does his wife give him a little help? Set in mundane, repressed middle-class environments, these tales pivot on terrible slips off the leash.

Last Vanities

Tugtens lykkelige år

Family, obsession, and privilege boiled down by the icy-hot Swiss-Italian master stylist Fleur Jaeggy Even among Fleur Jaeggy’s singular and intricate works, The Water Statues is a shiningly peculiar book. Concerned with loneliness and wealth’s odd emotional poverty, this early novel is in part structured as a play: the dramatis personae include the various relatives, friends, and servants of a man named Beeklam, a wealthy recluse who keeps statues in his villa’s flooded basement, where memories shiver in uncertain light and the waters run off to the sea. Dedicated to Ingeborg Bachmann and fleshed out with Jaeggy’s austere yet voluptuous style, The Water Statues—with its band of deracinated, loosely related souls (milling about as often in the distant past as in the mansion’s garden full of intoxicated snails)—delivers like a slap an indelible picture of the swampiness of family life.

'Ich wollte eine Heranwachsende beschreiben, die einem Wahn erliegt', sagt die gebürtige Schweizerin Fleur Jaeggy über ihren Roman. Sie führt den Leser in ein Mädchenpensionat der sechziger Jahre, das 'Bausler' im schweizerischen Appenzell, einen Ort, paradiesisch oder infernalisch, denn hier werden Mädchen diszipliniert, 'bis die Disziplin selbst zur Lust wird'

Novelle

Die seligen Jahre der Züchtigung

roman

De gelukzalige jaren van tucht

In a striking style, more poetic than essayistic, closer to narrative than documentation, Fleur Jaeggy highlights the biographical details of three great men of letters: Thomas De Quincey, John Keats, and Marcel Schwob. From the gloomy boarding schools to which De Quincey was confined to Keats’s propensity for both troublemaking and poetic brilliance and Schwob’s adventurous journey to the South Pacific in the footsteps of Robert Louis Stevenson, the author weaves an intimate narrative of the most human elements of these three creators, presenting the achievements and misfortunes of men who reached the summit of literary excellence.

Vidas Conjeturales

En el Bausler Institut, un internado femenino situado en el cantón más retrógrado de Suiza, el Appenzell, se respira una densa atmósfera de cautiverio, sensualidad inconfesada y demencia. En estos parajes por los que paseaba el escritor Robert Walser, y donde se suicidó tras permanecer treinta años en un manicomio, se desarrollan la infancia y la adolecencia de la narradora, quien las rememora desde la madurez. En ese colegio imaginario que permanece, transfigurado, en la memoria, la narradora se sentirá irremediablemente atraída por la «nueva»: hermosa, severa, perfecta, figura enigmática que parece haberlo vivido todo, y que le deja entrever algo a la vez sereno y terrible. El estilo lacónico y terso, casi punzante, la sagacidad de las reflexiones más sutiles, subrayan la intensidad de esta historia implacable. Hacen vibrar una cuerda secreta en ese mundo desvinculado de la realidad, en que la vida se ha visto «pasar por las ventanas». Entre el desconcierto, la atracción y el temor, una insólita emoción trastoca al lector, como si en el centro de un jardín bien cuidado viera cómo se desata una vorágine.

Los hermosos años del castigo

Proleterka bottles at one hundred and eighty proof the "insomniac resentment" and cyclical nature of familial pain."--BOOK JACKET.

Fleur Jaeggy

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