Anne Carson – författare

This is a volcanic journey into the soul of a winged red monster named Geryon. It is queer coming-of-age love story, a Greek myth retold, and a modern classic.Tormented as a boy by his brother, Geryon escapes to a parallel world of photography. He falls deeply in love with Herakles, a golden young man, who deserts him at the peak of infatuation. So Geryon retreats ever further into the world created by his camera, fascinated by his wings, his redness and the fantastic accident of who he is. But all is suddenly and irrevocably shattered by Herakles’ return.Autobiography of Red is a deceptively simple narrative filled with currents of meaning, emotion, and the truth about what it’s like to be red. An extraordinary, modern epic poem - moving, disturbing and delightful.'Totally engrossing' Ocean Vuong'This book is amazing - I haven't discovered any writing in years that's so marvellously disturbing' Alice Munro‘A profound love story...sensuous and funny, poignant, musical and tender’ Ruth Padel, New York Times Book Review

Named one of the 100 best nonfiction books of all time by the Modern LibraryAnne Carson’s remarkable first book about the paradoxical nature of romantic loveSince 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.”

Vad gör man när man avslutat På spaning efter den tid som flytt och hamnat i den öken som breder ut sig Efter Proust? Man kan till exempel ta notis om Albertine, den kvinna med vilken romanens manliga berättarjag har sitt mest ingående förhållande. Albertine nämns pa 807 sidor i Prousts verk och ägnar 19 % av sin tid i det åt att sova. Hon hamnar i särskilt fokus i bok 5, Den fångna  en bok som tidspressade läsare tryggt kan slopa fullständigt, enligt en ledande expert på Proust. Anne Carson är född i Kanada och lever på att undervisa i antik grekiska. Detta är hennes anteckningar efter Proust, med appendix.

History is filled with unacceptable noises: high pitch, gossip, talkativeness, hysteria, wailing and ritual shouts. Who makes them? Those deviant from or deficient in the masculine ideal of self-control: women, catamites, eunuchs and androgynes fall into this category. From the myths of antiquity to Margaret Thatcher via Sigmund Freud and Gertrude Stein, The Gender of Sound charts the gendering of voice through Western culture. This enquiry into the way we hear sounds invites reimagining our conceptions of human order, virtue and selfhood.Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.

In a 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 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 sombre house where 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 picaresque verse invites readers on an extraordinary journey of intellect, imagination, and soul.

Wrong Norma is Anne Carson's first book of original material in eight yearsNATIONAL BOOK CRITICS CIRCLE AWARD WINNER FOR POETRY'Effortlessly readable and – a word critics don’t often use about her – fun' DAILY TELEGRAPH'I'm a big fan... She pinpoints the collision of oracle and anachronism' TEJU COLEAs with her most recent publications, Wrong Norma is a facsimile edition of the original hand-designed book, drawn and annotated by the author. Several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like the New Yorker and the Paris Review.Anne Carson is probably our most celebrated living poet, winner of countless awards and routinely tipped for the Nobel Prize in Literature. Famously reticent, asking that her books be published without cover copy, she has agreed to say this:Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantanamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night, Sokrates, writing sonnets, forensics, encounters with lovers, the word "idea", the feet of Jesus, and Russian thugs. The pieces are not linked. That's why I've called them "wrong".

Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry.

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.'

'A superb version . . . subtle, beautiful, precise, moving' THE TIMESThe definitive complete translation of Sappho, by one of the world's greatest living poetsNot much is known about Sappho, the great poetess of Ancient Greece. Her relationships, her queerness, her family, her death - all these details are hazy, lost to time. Likewise, of the nine scrolls of lyrics Sappho is said to have composed during her life on the island of Lebsos, only one poem has survived complete - the rest are fragments.In If Not, Winter, Anne Carson has collected and translated all the surviving fragments of Sappho's verse. With the original Greek parallel to each poem, Carson leaves brackets and white space to signal the gaps where text has been lost to time - allowing us to imagine the poems as they were written.With her singular style and extensive translator's notes, Carson pieces together the voice of Sappho. And through her, Sappho's reflections on love and desire, suitors and rivals, goddesses and daughters, echo through millennia.'The beautiful blur of Sappho's work, the rhythms, the ornate grammar, the singing sounds she teases out of rare words . . . are impossible to match' DAILY TELEGRAPH'Imaginatively presented and superbly prefaced, this collection is both heartrending and uplifting' INDEPENDENT'A defining translation' THE CAMBRIDGE COMPANION TO SAPPHO'Anne Carson's translations of Sappho are small miracles of vividness' EMILY ROBINSON, ANNE CARSON: ECSTATIC LYRE '[Carson's] command of language is honed to a perfect edge and her approach to the text, respectful yet imaginative, results in verse that lets Sappho shine forth' LOS ANGELES TIMES'A spare and elegant rendering of every word of Sappho's that has come down to us' MERYL ALTMAN, A WOMAN'S REVIEW OF BOOKS'A haunting translation' LONDON REVIEW OF BOOKS

In this extraordinary epic poem, Anne Carson bridges the gap between classicism and the modern, poetry and prose, with a volcanic journey into the soul of a winged red monster named Geryon. There is a strong mixture of whimsy and sadness in Geryon's story. He is tormented as a boy by his brother, escapes to a parallel world of photography, and falls in love with Herakles - a golden young man who leaves Geryon at the peak of infatuation. Geryon retreats ever further into the world created by his camera, until that glass house is suddenly and irrevocably shattered by Herakles' return. Running throughout is Geryon's fascination with his wings, the colour red, and the fantastic accident of who he is. Autobiography of Red is a deceptively simple narrative layered with currents of meaning, emotion, and the truth about what it's like to be red. It is a powerful and unsettling story that moves, disturbs, and delights.

A NEW YORK TIMES BEST POETRY BOOK OF 2024WINNER OF THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR POETRYFINALIST FOR THE NATIONAL BOOK AWARD FOR POETRYPublished 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.’"

'Fans of Anne Carson, rejoice!... Carson's depth of knowledge about Greek mythology coupled with her poetic sensibility and illustrations is sure to breathe new life into this oft-told story.' Lit HubH of H Playbook is an explosion of thought, in drawings and language, about a Greek tragedy called Herakles by the 5th-century BC poet Euripides. In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous "Labours of Herakles") to find he cannot adapt himself to a life of peacetime domesticity. He goes berserk and murders his whole family. Suicide is his next idea. Amazingly, this does not happen. Due to the intervention of his friend Theseus, Herakles comes to believe he is not, after all, indelibly stained by his own crimes, nor is his life without value. It remains for the reader to judge this redemptive outcome."I think there is no such thing as an innocent landscape," said Anselm Kiefer, painter of forests grown tall on bones.

Vad har den antike grekiske poeten Simonides, känd för att ha uppfunnit minneskonsten och för att varit först med att ta betalt för poesi, att göra med Paul Celan, den tyska efterkrigslitteraturens ordkarge mästarpoet? Svaret heter Det oförlorades ekonomi, den kanadensiska språkkonstnären, antikforskaren, översättaren med mera Anne Carsons kanske allra märkligaste ? men också centrala ? bok, som nu ges ut i översättning av Niklas Haga och Rebecka Kärde. Med utgångspunkt i en enda preposition, grekiskans pros, och en fråga, vad går egentligen förlorat när vi slösar med orden?, sätter sig Carson på tankevindlande kollisionskurs med de två poeternas liv och verk och med vad som eventuellt kunde kallas poesins predikament. Anne Carsons egensinniga texter har fått fäste i Sverige tack vare översättningar av hennes största publikframgångar, de ?prosalyriska? experimenten Röd självbiografi, Makens skönhet och nu senast Röd doc. I och med Det oförlorades ekonomi introduceras en ny sida av författarskapet för svensk publik, en sida som är avgjort mer akademisk och lärd, men inte ett jota mindre carsonsk.

The Penguin Modern Poets are succinct guides to the richness and diversity of contemporary poetry. Every volume brings together representative selections from the work of three poets now writing, allowing the curious reader and the seasoned lover of poetry to encounter the most exciting voices of our moment.". . . And I was grown up, with your face on,heating spice after spice to smoke out the smell of books, to burnthe taste buds off this bitten tongue, avoid ever speaking of you."- Emily Berry, 'Her Inheritance'"If you are not the free person you want to be you must find a place to tell the truth about that. To tell how things go for you."- Anne Carson, 'Candor'"I had a moment thereamong the balustradesand once that moment had expiredit graduatedfrom a moment to a life"- Sophie Collins, 'Dear No. 24601'

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the play.Although it has been at times overshadowed by his more famous Oedipus Tyrannus and Antigone, Sophocles'' Electra is remarkable for its extreme emotions and taut drama.Electra recounts the murders of Clytemnestra and Aegisthus by Clytemnestra''s son Orestes, to avenge their murder of his father Agamemnon, commander of the Greeks at Troy, upon his return home. Sophocles'' version is presented from the viewpoint of Electra, Orestes'' sister, who laments her father, bears witness to her mother''s crime, and for years endures her mother''s scorn. Despite her overwhelming passion for just revenge, Electra admits that her own actions are shameful. When Orestes arrives at last, her mood shifts from grief to joy, as Orestes carries out the bloody vengeance. Sophocles presents this story as a savage though necessary act of vengeance, vividly depicting Electra''s grief, anger, and exultation. This translation equals the original in ferocity of expression, and leaves intact the inarticulate cries of suffering and joy that fill the play.

Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals. Under the general editorship of Peter Burian and Alan Shapiro, each volume includes a critical introduction, commentary on the text, full stage directions, and a glossary of the mythical and geographical references in the play.Although it has been at times overshadowed by his more famous Oedipus Tyrannus and Antigone, Sophocles'' Electra is remarkable for its extreme emotions and taut drama.Electra recounts the murders of Clytemnestra and Aegisthus by Clytemnestra''s son Orestes, to avenge their murder of his father Agamemnon, commander of the Greeks at Troy, upon his return home. Sophocles'' version is presented from the viewpoint of Electra, Orestes'' sister, who laments her father, bears witness to her mother''s crime, and for years endures her mother''s scorn. Despite her overwhelming passion for just revenge, Electra admits that her own actions are shameful. When Orestes arrives at last, her mood shifts from grief to joy, as Orestes carries out the bloody vengeance. Sophocles presents this story as a savage though necessary act of vengeance, vividly depicting Electra''s grief, anger, and exultation. This translation equals the original in ferocity of expression, and leaves intact the inarticulate cries of suffering and joy that fill the play.

Anne Carson' s first full-length publication in Britain, Glass and God introduces an assured and challenging new voice: vivid, laconic, precise. Her 'Short Talks' are about everything from Sylvia Plath to Franz Kafka, from waterproofing to walking backwards; the brilliant long poem 'The Glass Essay' deals with the end of a contemporary love affair, but is haunted by the Brontë sisters. Blending the modern and the classical, Anne Carson writes with an intensity and an integrity that is transfiguring.

Since Glass and God, which was her first full-length collection published in Britain and which was nominated for the 1998 Forward Prize, Anne Carson has published a book a year to extraordinary critical acclaim. Her last two volumes, Autobiography of Red and Men in the Off Hours were both shortlisted for the T.S. Eliot Prize, and she has received numerous North American awards, including the prestigious MacArthur Fellowship.In her brilliant new book, she tells a single story. A long-time love, now a crumbling marriage, unfolds in 29 'tangos' of narrative verse, informed by the romanticism of Keats, the wisdom of the classical world and, most importatnly, by Carson's own unique sensibility. The unnamed narrator - sometimes 'I', sometimes 'the wife' - speaks of the man she calls only 'the husband', illuminating moments that are by turn sensual, erotic, painful and heartbreaking. The Beauty of the Husband is a work that explores these oldest of lyrical subjects - beauty, desire, love, betrayal - with freshness and devastating power.**ONE OF THE GUARDIAN'S 100 BEST BOOKS OF THE 21st CENTURY**

A NEW YORK TIMES NOTABLE BOOK OF THE YEARNational 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              The award-winning poet Anne Carson reinvents a genre in Autobiography of Red, 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 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

The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose "economies" of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities. In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language.Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the "negative design" of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.

Named one of the 100 best nonfiction books of all time by the Modern LibraryAnne Carson’s remarkable first book about the paradoxical nature of romantic loveSince 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.”

Known as a remarkable classicist, Anne Carson weaves contemporary and ancient poetic strands with stunning style in Glass, Irony and God. This collection includes: "The Glass Essay," a powerful poem about the end of a love affair, told in the context of Carson's reading of the Brontë sisters; "Book of Isaiah," a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome," about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.

Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Antigonick is her seminal work. Sophokles’ luminous and disturbing tragedy is here given an entirely fresh language and presentation. This paperback edition includes a new preface by the author, “Dear Antigone.”

The Albertine Workout contains fifty-nine paragraphs, with appendices, summarizing Anne Carson’s research on Albertine, the principal love interest of Marcel in Proust’s Á la recherche du temps perdu.

Anne Carson writes, “Euripides was a playwright of the fifth century BC who reinvented Greek tragedy, setting it on a path that leads straight to reality TV. His plays broke all the rules, upended convention and outraged conservative critics. The Bakkhai is his most subversive play, telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration. Dionysos is the god of intoxication. Once you fall under his influence, there is no telling where you will end up.”

Norma Jeane Baker of Troy is a meditation on the destabilizing and destructive power of beauty, drawing together Helen of Troy and Marilyn Monroe, twin avatars of female fascination separated by millennia but united in mythopoeic force. Norma Jeane Baker was staged in the spring of 2019 at The Shed’s Griffin Theater in New York, starring actor Ben Whishaw and soprano Renée Fleming and directed by Katie Mitchell.