James Reidel – författare

Critic, novelist, filmmaker, jazz musician, painter, and, above all, poet, Weldon Kees performed, practiced, and published with the best of his generation of artists—the so-called middle generation, which included Robert Lowell, Elizabeth Bishop, and John Berryman. His dramatic disappearance (a probable suicide) at the age of forty-one, his movie-star good looks, his role in various movements of the day, and his shifting relationships with key figures in the arts have made him one of the more intriguing—and elusive—artists of the time. In this long-awaited biography, James Reidel presents the first full account of Kees's troubled yet remarkably accomplished life. Reidel traces Kees's career from his birth in 1914 and boyhood in Beatrice, Nebraska, to his stint as an award-winning short-story writer and novelist, his rise as a poet and critic in New York, his branching off into abstract expressionism, jazz music, and theater, and his experimental and scientific filmmaking and photography. Going beyond the cult status that has grown up around Kees over the years, this work fairly and judiciously places him as a cultural adventurer at a particularly rich and significant moment in postwar twentieth-century America.

The stories are all told by and “outsider artist”, a writer who is never able to finish his long novel yet easily writes these small touching portraits about the poor who, in their dance halls and bars, long to live the high-life of the Park Avenue “swells.” in dance halls, and bars.

At once a narrative biography and a medical history, Manon’s World tells the story of a haunted young woman caught in the middle of a love triangle in interwar Germany.Manon Gropius (1916–1935) was the daughter of Alma Mahler, the widow of Gustav Mahler, and the architect Walter Gropius, the founder of the Bauhaus, and the stepdaughter of the writer Franz Werfel. In Manon’s World, James Reidel explores the life and death of a child at the center of a broken love triangle. The story takes a unique course, describing a peripheral figure but in a context where her significance and centrality in the lives of her famous parents and circles comes into relief. Reidel reveals a neglected and fascinating life in a world gone by—Vienna, Venice, and Berlin of the interwar years.  Not just a narrative biography, Manon’s World is also a medical history of the polio that killed Manon and a personal cultural history of the aspirations projected on her—and seen as lost by such keen observers as Elias Canetti, who devoted two chapters of his Nobel Prize–winning memoirs to his encounters with Manon and her funeral. That event led Alban Berg to dedicate his signature Violin Concerto “to an angel.” Reidel reveals a more complex image of a young woman who desired to be an actress and artist in her own right despite being her mother’s intended protégé, an inspiration to her father who rarely saw her, and her stepfather Franz Werfel, who obsessively wrote her into his novels, beginning with The Forty Days of Musa Dagh and as a revenant in all the books that followed.

This book brings English-language readers works by Walser in a rare form: dramolette.Few writers have ever experienced such a steady rise in their reputation and public profile as Swiss writer Robert Walser (1878–1956) has seen in recent years. As more of his previously little-known work has been translated into English, readers have discovered a unique writer whose off-kilter sensibility and innovations in form are perfectly suited to our fragmented, distracted, bewildering era.The short plays presented here, inspired by the German theater Walser enjoyed in his youth, while never meant to be performed, present scenes, characters, and situations that comment on the brutality of fairy tales, the impossibilities of love, the dark fate of the Christ child (and Walser himself), and more. At the same time, like all of Walser’s work they are shot through with a humor that is wholly genuine despite its shades of darkness. Gathering all of Walser’s plays, as well as his later, fragmentary dramatic writings, Comedies will be celebrated by the many devoted fans of this lately rediscovered master.

Bernhard’s Collected Poem is a key to understanding Bernhard’s irascible black comedy found in virtually all of his writings—even down to his last will and testament. Beloved Austrian writer Thomas Bernhard (1931–89) began his career in the early 1950s as a poet. Over the next decade, Bernhard wrote thousands of poems and published four volumes of intensely wrought and increasingly personal verse, with such titles as On Earth and in Hell, In Hora Mortis, and Under the Iron of the Moon. Bernhard’s early poetry, bearing the influence of Georg Trakl, begins with a deep connection to his Austrian homeland. As his poems saw publication and recognition, Bernhard seemed always on the verge of joining the ranks of Ingeborg Bachmann, Paul Celan, and other young post-war poets writing in German. During this time, however, his poems became increasingly more obsessive, filled with undulant self-pity, counterpointed by a defamatory, bardic voice utterly estranged from his country, all of which resulted in a magisterial work of anti-poetry—one that represents Bernhard’s own harrowing experience with his leitmotif of success and failure, which makes his fiction such a pleasure. There is much to be found in these pages for Bernhard fans of every stripe.