Robert Coover – författare

These two novellas by the groundbreaking, fearless, and immeasurably influential Robert Coover are dirty, funny and brilliant. In Briar Rose a sleeping beauty is trapped in an enchantment for a hundred years, dreaming of stories in which someone like her wakes up disappointed, or becomes a mother, or is stripped and defiled. And, as she dreams, outside, failed princes die and hang their remains on the thorns of a briar hedge. In Spanking the Maid a maid and her master are each committed to their own hard service: she, attempting to perform her simple duties without error; he, supplying punishment by rod, belt, hairbrush, whip, cane and slipper when she inevitably fails. These tales of desire are Coover at his most darkly playful.

En man vaknar upp med morgonstånd, halvt förvirrad av nattens drömmar. Hembiträdet går runt och pysslar, småsjungande gamla psalmer. Men varför måste hon alltid göra fel? Varje morgon är det något hon glömt, om så bara trosorna. Och han måste bestraffa henne igen och igen. Piskan viner: SMASK! SCHVITS! Och hembiträdet kvider: "Tack, snälla herrn!" Amerikanen Robert Coover (f 1931) tillhör

Ros is dead. A bad actress but a tremendous lover, when she was alive her thighs pillowed cast members, crew, friends and acquaintances. Now Gerald's party continues around her murdered corpse (it is, after all, just the first of the night), as the guests indulge in drinking, flirting and jealousies, and the police make their brutal investigations.An evening of cocktails, sex and violence, Robert Coover's novel is a murder mystery as rousing and disorienting as the best drunken party, a vaudevillian masterpiece.

These two novellas by the groundbreaking, fearless, and immeasurably influential Robert Coover are dirty, funny and brilliant. In Briar Rose a sleeping beauty is trapped in an enchantment for a hundred years, dreaming of stories in which someone like her wakes up disappointed, or becomes a mother, or is stripped and defiled. And, as she dreams, outside, failed princes die and hang their remains on the thorns of a briar hedge. In Spanking the Maid a maid and her master are each committed to their own hard service: she, attempting to perform her simple duties without error; he, supplying punishment by rod, belt, hairbrush, whip, cane and slipper when she inevitably fails. These tales of desire are Coover at his most darkly playful.

Ros is dead. A bad actress but a tremendous lover, when she was alive her thighs pillowed cast members, crew, friends and acquaintances. Now Gerald's party continues around her murdered corpse (it is, after all, just the first of the night), as the guests indulge in drinking, flirting and jealousies, and the police make their brutal investigations.An evening of cocktails, sex and violence, Robert Coover's novel is a murder mystery as rousing and disorienting as the best drunken party, a vaudevillian masterpiece.

In his carnivalesque and riotously inventive Pricksongs & Descants Robert Coover remakes old stories: of Red Riding Hood, Hansel and Gretel, and Beauty (who married her Beast and spends a lifetime suffering his doggy stink). And he reshapes his own: a man makes repeating, re-imagined journeys in an office elevator (while his fellow riders taunt and tempt him), and in the seminal, fractal 'The Babysitter' every moment in a single night is played and replayed, every hope and threat of sex and violence done and undone. Coover's dark, wilfil, comic imagination revels brilliantly in contradictions, a master of chaos.

'Paul stepped off the curb and got hit by a truck. He didn't know what it was that hit him at first, but now, here on his back, under the truck, there could be no doubt.'One of 50 original and exciting books of short stories, publishing in February to celebrate half a century of Penguin Modern Classics.This book contains Romance of the Thin Man and the Fat Lady, The Babysitter, and A Pedestrian Accident.

At the end of Huckleberry Finn, on the eve of the Civil War, Huck and Tom Sawyer decide to escape “sivilization” and “light out for the Territory.” In Robert Coover’s vision of their Western adventures, Tom decides he’d rather own civilization than escape it, leaving Huck “dreadful lonely” in a country of bandits, war parties, and gold. In the course of his ventures, Huck reunites with old friends, facing hard truths and even harder choices.

Robert Coover has been playing by his own rules for more than half a century, earning the 1987 Rea Award for the Short Story as “a writer who has managed, willfully and even perversely, to remain his own man while offering his generous vision and versions of America.” Here, in this selection of his best stories, you will find an invisible man tragically obsessed by an invisible woman; a cartoon man in a cartoon car who runs over a real man who is arrested by a real policeman with cartoon eyes; a stick man who reinvents the universe. While invading the dreams and nightmares of others, Coover cuts to the core of how realism works.

At the end of Mark Twain's Huckleberry Finn, on the eve of the Civil War, Huck and Tom Sawyer decide to escape "sivilization" and "light out for the Territory." In Robert Coover's Huck Out West, also "wrote by Huck," the boys do just that, riding for the famous but short-lived Pony Express, then working as scouts for both sides in the war. They are suddenly separated when Tom decides he'd rather own civilization than leave it, returning east with his new wife, Becky Thatcher, to learn the law from her father. Huck, abandoned and "dreadful lonely," hires himself out to "whosoever." He rides shotgun on coaches, wrangles horses on a Chisholm Trail cattle drive, joins a gang of bandits, guides wagon trains, gets dragged into U.S. Army massacres, suffers a series of romantic and barroom misadventures. He is eventually drawn into a Lakota tribe by a young brave, Eeteh, an inventive teller of Coyote tales who "was having about the same kind of trouble with his tribe as I was having with mine." There is an army colonel who wants to hang Huck and destroy Eeteh's tribe, so they're both on the run, finding themselves ultimately in the Black Hills just ahead of the 1876 Gold Rush.This period, from the middle of the Civil War to the centennial year of 1876, is probably the most formative era of the nation's history. In the West, it is a time of grand adventure, but also one of greed, religious insanity, mass slaughter, virulent hatreds, widespread poverty and ignorance, ruthless military and civilian leadership, huge disparities of wealth. Only Huck's sympathetic and gently comical voice can make it somehow bearable.

'She arrives at 7.40, ten minutes late...' She babysits for Mr and Mrs Tucker. She has left a boyfriend alone for the evening. From this seemingly simple start Robert Coover masterfully explores the subtle barrier between 'reality' and thought. As the babysitter triggers the men's sexual fantasies, their erotic imaginations twist into alternative narratives simultaneously experienced by the reader: she does or does not take a bath; she does or does not invite her boyfriend over; she does or does not get caught unawares by Mr Tucker. In a profusion of happenings and imaginings, Coover layers moment upon moment, narrative upon narrative, to shatter the timeline of one evening into a multiplicity of events - contradictory, simultaneous, but all equally 'real'.

A very old professor returns to Venice to finish work on his final book, but as he searches for the proper ending, he slowly begins to turn back into wood.

Robert Coover's wicked and surreally comic novel takes place at a chilling, ribald, and absolutely fascinating party. Amid the drunken guests, a woman turns up murdered on the living room floor. Around the corpse, one of several the evening produces, Gerald's party goes on — a chatter of voices, names, faces, overheard gags, rounds of storytelling, and a mounting curve of desire. What Coover has in store for his guests (besides an evening gone mad) is part murder mystery, part British parlor drama, and part sly and dazzling meditation on time, theater, and love.

This volume presents a collection of short stories based on traditional fairy tales that expose the futility of idealism.

A wide-ranging anthology of experimental writing—prose, poetry, and hybrid—from its most significant practitioners and innovators  A variety of names have been used to describe fiction, poetry, and hybrid writing that explore new forms and challenges mainstream traditions. Those phrases include experimental, conceptual, avant-garde, hybrid, surfiction, fusion, radical, slip-stream, avant-pop, postmodern, self-conscious, innovative, L=A=N=G=U=A=G=E writing, alternative, and anti- or new literature. Conceptualisms: The Anthology of Prose, Poetry, Visual, Found, E- & Hybrid Writing as Contemporary Art is the first major anthology of writing that offers readers an overview of this other tradition as it lives in the early decades of the 21st century.Featuring over 100 pieces from more than 90 authors, this anthology offers a plethora of aesthetics and approaches to a wide variety subjects. Editor Steve Tomasula has gathered poems, prose, and hybrid pieces that all challenge our understanding of what literature means. Intended as a collection of the most exciting and bold literary work being made today, Tomasula has put a spotlight on the many possibilities available to writers and readers wishing for a glimpse of literature’s future.Readers will recognize authors who have shaped contemporary writing, as among them Lydia Davis, Charles Bernstein, Jonathan Safran Foer, Shelley Jackson, Nathaniel Mackey, David Foster Wallace, and Claudia Rankine. Even seasoned readers will find authors, and responses to the canon, not yet encountered. Conceptualisms is a book of ideas for writers, teachers and scholars, as well as readers who wonder how many ways literature can live.The text features headnotes to chapters on themes such as sound writing, electronic literature, found text, and other forms, offering accessible introductions for readers new to this work. An online companion presents statements about the work and biographies of the authors in addition to audio, video, and electronic writing that can’t be presented in print. Visit www.conceptualisms.info to read more.

Radical and racy, Robert Coover’s Coover Stories is a new collection of incisive, inventive works from the postmodern master.When Robert Coover’s first collection Pricksongs & Descants came out in 1969, his shortstory “The Babysitter,” took the literary world by storm. Described as “metafiction at its best,”his work is taught in classrooms more than half a century later, no less relevant—andirreverent—than at its debut. Provocative, experimental, and biting, Coover’s darkly satiricwriting has pushed the avant-garde to its limits and sired a generation of postmodernists.Coover Stories is the fourth short story collection from Robert Coover. Drawing on decades of experience, the William FaulknerFoundation Award–winning writer continues to shock and engage his readers with his wit, style,and keen critical eye for the paradoxes of modernity.

The sequel to Coover''s award-winning The Origin of the Brunists, takes a look at religion, cults, myths, and how small towns relying on slowly dying businesses mesh together with an amazing cast of characters, varying points of view and the usage of language that Coover has been renowned for these past nearly fifty years.

Previews, coming attractions, horror, romance, mystery, even intermissions--you name the type of movie and there''s a fiction within this collection to cover it--all written with the exuberance you''ve come to expect in Robert Coover''s writing.

Robert Coover''s wicked and surreally comic novel takes place at a chilling, ribald, and absolutely fascinating party. Amid the drunken guests, a woman turns up murdered on the living room floor. Around the corpse, one of several the evening produces, Gerald''s party goes on — a chatter of voices, names, faces, overheard gags, rounds of storytelling, and a mounting curve of desire. What Coover has in store for his guests (besides an evening gone mad) is part murder mystery, part British parlor drama, and part sly and dazzling meditation on time, theater, and love.

A nameless rider plods through the desert toward a dusty Western town shimmering on the horizon. In his latest novel, Robert Coover has taken the familiar form of the Western and turned it inside out. The lonesome stranger reaches the town - or rather, it reaches him - and he becomes part of its gunfights, saloon brawls, bawdy houses, train robberies, and, of course, the choice between the saloon chanteuse or the sweet-faced schoolmistress whom he loves. Throughout, Robert Coover reanimates the Western epics of Zane Grey and Louis L''Amour, infusing them with the Beckettian echoes, unique comic energy, and exuberant prose that have made him one of the most influential figures in contemporary American literature. It is, as The Washington Post Book World put it, "a fast-forward, ribald vision of the American West, a free-for-all that slides from surreal to ridiculous like a circus-goer''s grin through a funhouse mirror . . . a heady frisson, a salon entertainment, one helluva ride."