Kay Boyle – författare

One of the Lost Generation modernists who gathered in 1920s Paris, Kay Boyle published more than forty books, including fifteen novels, eleven collections of short fiction, eight volumes of poetry, three children's books, and various essays and translations. Yet her achievement can be even better appreciated through her letters to the literary and cultural titans of her time.Kay Boyle shared the first issue of This Quarter with Gertrude Stein and Ernest Hemingway, expressed her struggles with poetry to William Carlos Williams and voiced warm admiration to Katherine Anne Porter, fled WWII France with Max Ernst and Peggy Guggenheim, socialized with the likes of James Joyce, Marcel Duchamp, and Samuel Beckett, and went to jail with Joan Baez. The letters in this first-of-its-kind collection, authorized by Boyle herself, bear witness to a transformative era illuminated by genius and darkened by Nazism and the Red Scare. Yet they also serve as milestones on the journey of a woman who possessed a gift for intense and enduring friendship, a passion for social justice, and an artistic brilliance that earned her inclusion among the celebrated figures in her ever-expanding orbit.

Three quarters of a century after the manuscript of Kay Boyle’s first novel disappeared, a carbon copy of it was discovered by Sandra Spanier, the preeminent Boyle authority. Set off by Spanier’s substantial introduction, Process is published here for the first time in paperback.A classic bildungsroman, Process tells the story of Kerith Day, who is in search of her own identity and place in the world. A keenly critical observer of the dreary industrial landscape and the beaten-down inhabitants of her native Cincinnati, Ohio, Kerith is determined to discover something better. She places her faith in art and politics and sets off for France, where workers and radicals are on the same side.

One of the Lost Generation modernists who gathered in 1920s Paris, Kay Boyle published more than forty books, including fifteen novels, eleven collections of short fiction, eight volumes of poetry, three children''s books, and various essays and translations. Yet her achievement can be even better appreciated through her letters to the literary and cultural titans of her time.

Kay Boyle shared the first issue of This Quarter with Gertrude Stein and Ernest Hemingway, expressed her struggles with poetry to William Carlos Williams and voiced warm admiration to Katherine Anne Porter, fled WWII France with Max Ernst and Peggy Guggenheim, socialized with the likes of James Joyce, Marcel Duchamp, and Samuel Beckett, and went to jail with Joan Baez. The letters in this first-of-its-kind collection, authorized by Boyle herself, bear witness to a transformative era illuminated by genius and darkened by Nazism and the Red Scare. Yet they also serve as milestones on the journey of a woman who possessed a gift for intense and enduring friendship, a passion for social justice, and an artistic brilliance that earned her inclusion among the celebrated figures in her ever-expanding orbit.

When Death of a Man was first published in 1936, the anonymous reviewer in Time described the novel as a "Nazi idyll." Nothing could be further from the truth. Boyle, who lived in the town of Kitzbühel in the Tirolean Alps during the mid 30s, recalls that "In 1934, mothers, fathers, children—all barefoot—stood in the ankle-deep snow on the sidewalks of Vienna, their hands out-stretched for help .... Nazism as to them mutely accepted as the one hope for the economy." The subtlety and precision honed by Boyle in her acclaimed short stories are used in Death of a Man to describe the tragedy of a society pushed to the edge by circumstance but as yet unaware of the dangers, the incipient evil, of the course it is choosing. In this setting, the passionate relationship between the appealing and vigorous but pro-Nazi Dr. Prochaska and the pampered, neurotic American young woman Pendennis, is a paradigm of the difficulty of individual love in a disordered world.

Kay Boyle’s Fifty Stories is an eloquent testament to the possibility of living and writing with passion and honor. In Paris in the twenties, in Austria before and after the Anschluss, in New York, in occupied Germany, in California, Boyle has been an inspiration both as an exquisite stylist and as a chronicler of the nuances of human experience. Now in her ninetieth year, Kay Boyle dares us, in this most comprehensive collection of her stories, to explore the themes that have preoccupied her for a lifetime: “the inviolate integrity of the human soul, the impact of external events on the most intimate of feelings, our fractured experience of love versus duty, self-respect versus hubris, social convention versus personal ethic…She is still unquestionably modern” (Ann Hornaday, The New York Times Book Review). Acclaimed novelist Louise Erdrich has provided a very personal appreciation of Boyle’s power and grace. As she comments in the Introduction: “Kay is a citizen whose life and art are intertwined, one morally dependent on the other, both inexhaustible.”

“I think my Crazy Hunter is the best thing I’ve ever done,” Kay Boyle wrote to her sister Joan in 1939, two weeks after she had finished writing it. Twenty years later she wrote to a friend, it “remains one of my best, I think.” This stunning short novel portrays a family––an almost grown young woman, her mother, and her drunkard father––and a magnificent blind gelding. Powerful and businesslike, the mother is determined to put the blind horse down; her daughter is determined to save him. Part of Boyle’s “British” period (based on her year’s stay in Devon), The Crazy Hunter is a charged inquiry into family relations and moral choice.

At 17, Nan wants to leave the family farm and go to study. Caught between her powerful mother and yielding, drunken father, she absorbs the tensions of their divided household and dotes on her new gelding, a gift from her father. When a sudden accident leaves the horse blind, Nan's mother insists he must be put down, initiating a power struggle that brings the family's conflicts explosively to the fore.First published in 1938, The Crazy Hunter is an electrifying short novel - sharply observed, psychologically astute and morally complex. Written in lush, entrancing prose, it is the finest work by a significant modernist writer.