Nathalie Stephens – författare
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258 kr
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152 kr
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"We Press Ourselves Plainly is a particularly affecting development in an already virtuosic, Ovidian body of work because it renews and makes newly visible crucial continuities: between Continental and North American Postmodernism, the Nouveau Roman and New Narrative, WWII and Operation Enduring Freedom. From out of agile and Celinian ellipses, Nathalie Stephens creates an asynchronous, transnational 'discordance...in time,' a hugely amplified recent past whose familiarity haunts us not as nostalgia but as trauma. Among 'immaculate and catastrophic' ruins and lacunae, having forgotten 'the sentence for behaving,' the narrator embarks upon an 'adverse and objectionable' litany of a history whose abjections yield a kind of nihilistic courage: 'Hope is for martyrs.' Given that now 'even the fictions are fictions,' Nathalie Stephens puts 'holes...where there were none' as a way of underscoring that there's nothing inevitable about gender or genre or violence, just as 'What is inevitable is not the war but the language that determines the war.' As grim as Beckett, as moral as Genet, as seductive as Duras-yet this book moves me like no other." - Brian Teare
176 kr
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In a Paper City write nothing down. So commands this text, which dismantles itself as it charts its own admonished course, navigating the interstices between English and French, the author's two mother tongues. Through the disquieting absence of the letters characters n and b, and the narrator's attempt to uncover and record their lives, Stephens confronts and challenges human proscription through the untranslatibility of experience, with ironic and apocalyptic consequences. Beneath this thin narrative runs an undercurrent of horror that decries the deliberate plunder of the City resulting from an absolute disregard for history's relationship to the body's fictions -- what n and b term 'art lost to numbers.'
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Touch to Affliction is a text of ruins: ruins of genre, of language, of the city, of the body, of the barbarism of the twentieth century. At once lament, accusation and elegy, this work articulates the crumbling of buildings, the evisceration of language, the inhumanity that arises from patrie. Acclaimed poet Nathalie Stephens walks among these ruins, calling out to those before her who have contemplated atrocity: Martin Buber, Henryk Gorecki, Simone Weil. In the end, this work considers what we are left with -- indeed, what is left of us -- as both participants in and heirs to the twentieth century. Touch to Affliction is political but never polemical. It lives at the interstices of thought and the unnameable. It is a book for our times.