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Tove Ditlevsen - Faces, E-bok

E-bok, Engelska, 2021

Faces

Av Tove Ditlevsen

Del i serien Penguin Modern Classics

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Beskrivning
'One of Denmark's most celebrated writers' New StatesmanFrom the acclaimed author of the Copenhagen Trilogy, a searing, haunting novel of a woman on the edge, portrayed with all the vividness of lived experience. Copenhagen, 1968. Lise, a children's book writer and married mother of three, is increasingly haunted by disembodied faces and voices. She is convinced that her husband, already extravagantly unfaithful, will leave her. Most of all, she is scared that she will never write again. Yet as she descends into a world of pills and hospitals, she begins to wonder, is insanity really something to be feared, or does it bring a kind of freedom?'Ditlevsen explores the surprising contours of Lise's experience: from her point of view, madness can be funny, soft and secure, and far more enlightening than the "reality" it struggles to evade' The New York TimesTranslated by Tiina Nunnally
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Tove Ditlevsen (Author) Tove Ditlevsen was born in 1917 in a working-class neighbourhood in Copenhagen. Her first volume of poetry was published when she was in her early twenties, and was followed by many more books, including the novels The Faces and Vilhelm's Room and her autobiographical masterpiece, Childhood (1967), Youth (1967) and Dependency (1971). She married four times and died by suicide in 1976.Tiina Nunnally (Translator) Tiina Nunnally is an award-winning translator (from Danish, Norwegian and Swedish) and novelist. She was awarded the prestigious PEN Translation Prize in 2001 for her translation of the third volume of Sigrid Undset's Kristin Lavransdatter, and her translations of Hans Christian Andersen and Tove Ditlevsen for Penguin Classics have been widely praised.

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The fact that Ditlevsen was herself one of insanity's intimates does much to explain this book's harrowing authenticity. But The Faces - in Tiina Nunnally's very deliberate, close-to-the-nerve translation - rises above a case study because, working from the inside, Ditlevsen is able to explore the surprising contours of Lise's experience: from her point of view, madness can be funny, soft and secure, and far more enlightening than the "reality" it struggles to evade

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