Friederike Mayröcker – författare

Poetic prose meditations translated superbly into English.  Austrian poet Friederike Mayröcker is widely considered one of the most important European poets of the twentieth and twenty-first centuries. The last book of hers to be published during her lifetime, as mornings and moosgreen I. Step to the window is an elliptical and, if at times cryptic, deeply personal, playful, and highly poetic collection of experiences, memories, dreams, desires, fears, visions, observations, and peregrinations through landscapes both real and imagined. The volume bears witness to her unique late lyrical style of pyrotechnical cut-up. Among many others, her beloved Derrida, Duchamp, Hölderlin, and Jean-Paul all appear, almost like guides, as Mayröcker bravely makes her way through infirmity, old age, and loneliness, prolonging her time as a prolific writer as much as possible.

Den som låter sig omfamnas av Friederike Mayröcker får känna den ömhet som döljer sig i de enklaste ting: i tvättklämman, i näckrosbladen, i en bukett av dagg. Den kritikerrosade österrikiska poeten skriver i sin senaste diktsamling trettio kärleksförklaringar, rör vid junikylan, kysser alpljuset, vitsippor och handflator, i en allt omfamnande poesi. Friederike Mayröcker, född 1924 i Wien, är en portalfigur inom den tyskspråkiga litteraturen. Sedan debuten 1946 har hon gett ut ett hundratal verk. Hon har erhållit ett flertal litteraturpriser, bland andra Friedrich-Hölderlin-Preis 1993, Georg-Büchner-Preis 2001, Peter-Huchel-Preis 2010 och Bremer Literaturpreis 2011. Hennes senast utgivna bok är études (prosalyrik, Suhrkamp 2013). Om omfamningar är den femte titeln som ges ut på svenska av Friederike Mayröcker. Översättaren Ulla Ekblad-Forsgren tilldelades av Svenska Akademien Stiftelsen Natur & Kulturs översättarpris 2013, var finalist till Årets översättning 2011 för Scardanelli och fick 2008 översättarpriset till Albert Bonniers 100-årsminne.

?Riktigt ljuv blir aldrig Mayröckers poesi. Det är för mycket som händer i språket, för mycket som gör motstånd, vill gå motvalls, som vägrar falla in i det tonfall som så ofta åtföljer en genre, i det här fallet de hölderlinska hymnernas. Ändå är det nog så att vi aldrig har kommit skönheten i Friederike Mayröckers litterära universum så nära som i Scardanelli. Hon tillåter sig det, för en gångs skull. Hölderlin ? eller snarare den betydligt anspråkslösare Scardanelli ? tillåter henne det. Det är befriad dikt vi möter.?

A lyrical requiem for Mayröcker's late partner, the writer Ernst Jandl.Austrian poet and playwright Ernst Jandl died in 2000, leaving behind his partner, poet Friederike Mayröcker—and bringing to an end a half century of shared life, and shared literary work. Mayröcker immediately began attempting to come to terms with his death in the way that poets struggling with loss have done for millennia: by writing. Requiem for Ernst Jandl is the powerfully moving outcome. In this quiet but passionate lament that grows into a song of enthralling intensity, Mayröcker recalls memories and shared experiences, and—with the sudden, piercing perception of regrets that often accompany grief—reads Jandl’s works in a new light. Alarmed by a sudden, existential emptiness, she reflects on the future, and the possibility of going on with her life and work in the absence of the person who, as we see in this elegy, was a constant conversational and creative partner.

A diary-like sequence of poems from one of Austria’s best-known contemporary voices.Exploring longing, lust for life, aging, mortality, grief, and flowers in her inimitable late style, études is a diary-like sequence of poems by one of the greatest living Austrian poets. Friederike Mayröcker’s almost daily entries give us a unique view into the interplay between desire and her motivation for writing. In Mayröcker’s case, she writes both to keep a vanished world present and to exploit the possibilities of being present for constant experimentation.  The poems in this volume are not only studies of how the mind works, moving from fragment to fragment, but also experiments with techniques of repetition, typography, collage, and quotation. Mayröcker transforms the humble page into spaces of radical openness. After all, she says, a poem is that which “opens everything up.” Each poem is date-stamped, and each date acts as a kind of permission for Mayröcker to pour in everything from notes on doctor’s visits to gorgeously structured elegies to obsessively repeating fragments of memory that act upon the whole like bits of recurring melody.  Rarely before has the intimate process of writing been so exquisitely laid bare than in études. Traversing the boundaries of literary forms with Mayröcker’s distinctive style, this important volume strikes an admirable balance between playfulness and serious inquiry.

Poetic prose meditations written in a lyrical stream-of-consciousness style by renowned Austrian poet Friederike Mayröcker.It is summer in this book, even if nature often does not hold to summer. The flowers either have tiny buds or have long since withered. It is summer in the book, asserts Mayröcker’s work, because the summer light is switched on: sometimes blazingly bright, sometimes darkened with thunderclouds. At the same time, there is a magical light in this writing. In these stream-of-conscious prose poem meditations, Mayröcker formulates a poetics of simultaneity of all that is not: “not the scenes I remember, rather, it is the sensations accompanying those scenes.”  Strictly composed in form and language while luxuriantly proliferated in daydreams and nightmares, just sitting around here GRUESOMELY now is a significant volume in the radical late work of the great Viennese poet.

A collection of poetic stream-of-consciousness prose meditations by Friederike Mayröcker.  Friederike Mayröcker has no time. Not for summary and memory, not for excessive reviewing and reasoning, and certainly not for storytelling. She doesn’t even have time for life itself—unless it’s writing. What counts, in her view, is only the poetry and “the echoic inventions” of a life that lasted for almost a century, which is preserved in her writings.  Widely considered one of the most important European poets of the twentieth and twenty-first centuries, Mayröcker passed away in 2021 at the age of ninety-six. On the outside, her life may be subject to the impertinence of the finitude of all human existence. But on the inside, and in its transformation into the eternal moment, life only becomes richer and richer in forms of experience. In radically concentrated language and compellingly beautiful images, Mayröcker presents in this cahier a life that follows only one maxim: “Not just what is written, but existence, too, must be poetic.”

An uncompromising masterpiece that transforms memory and renewal into a wild world of words.Fleurs—flowers, flower petals—a title that might suggest a gentle world of blooming fields and soft breezes. But in the hands of Friederike Mayröcker, one of the greatest German-language poets of the twentieth and twenty-first centuries, this is a book of a very different kind. It is a wild, vivid journey into a rich, elemental landscape.If you follow Mayröcker’s path, you find not a comfortable meadow but steep, stony ground—a place where her inimitable voice rings out in all its power and purity. Unsentimental and crystal clear, Mayröcker’s writing is driven by a single purpose: to create images of remarkable vividness in a language as free, bold, and fresh as if it were newly invented.The final installment of Mayröcker’s trilogy, following études and cahier, fleurs is a book of memory and renewal, protest and revelation—a testimony to the enduring magic of writing itself.

”hav ingivelse, välmenande manliga, upphöjda kvinnliga läs­are, ’jag kommer aldrig, inte heller ni, att veta allt om mig aldrig känna mig helt, dvs aldrig veta vem jag har levt med, hemligare än alla hemligheter som jag vet att jag tar med mig i döden ..’” Livet självt är det ofullbordade verk som Friederike Mayröcker avser med titeln jag är på anstalt. Fotnoter till ett icke­skrivet verk. Här skildras åldrandet i all sin nesa, ibland ömsint roat. Modigt beskriver Mayröcker sin skröplighet som 87-åring och konsten att bli gammal. Boken är en hommage till Jacques Derridas Circonfessions, en samling fotnoter som kommenterar Geoffrey Benningtons text i biografin om Derrida. Han knyter där an till Augustinus Confessiones, minnesbilder från uppväxt, innerlig gemenskap med modern och sitt oeuvre. Liknande trådar väver också Mayröcker in i sin text. Ulla Ekblad-Forsgren, översättare

Den österrikiska språkdrottningen Friederike Mayröcker tänjer ständigt skrivandets gränser, och hennes verk har haft avgörande inflytande på den europeiska samtidslitteraturen.  

I Vill ej mer gå i vall samlas sex av Mayröckers experimentella och djärva hörspel. De är genomgående skrivna med utgångspunkt i de egna prosatexterna, men vindlar på Mayröckerskt vis snart vidare mot musiken, teorin, konsten. 

Friederike Mayröcker (f. 1924) är en av den tyskspråkiga litteraturens portalfigurer. Sedan debuten 1946 har hon gett ut ett hundratal verk i olika genrer och erhållit ett flertal prestigefyllda litteraturpriser. På ellerströms har fem titlar tidigare utkommit: Indianhår (2005), Och jag ruskade en älskling (2010), Scardanelli (2011), jag är på anstalt (2012) och Om omfamningar (2013).