Fanny Howeová je americká experimentální básnířka a prozaička, která se ve své tvorbě zabývá napětím mezi hmotou a duchem. Její styl se vyznačuje úsporností a zároveň vášnivým zájmem o sociální spravedlnost a osud společnosti. Howeová se ve svých dílech často zaměřuje na hlubší duchovní a existenciální otázky, přičemž její psaní je popisováno jako pronikavé a nekompromisní. Její literární přínos spočívá v jedinečném propojení osobní reflexe s naléhavým společenským komentářem.
Radical Love gathers five of Fanny Howe's novels: Nod, The Deep North, Famous Questions, Saving History, and Indivisible, previously out-of-print and hard to find classics whose characters wrestle with serious political and metaphysical questions against the backdrop of urban, suburban, and rural America.
The conclusion of a radically philosophical and personal series of Fanny Howe novels animated by questions of race, spirituality, childhood, transience, resistance, and poverty. First published by Semiotexte in 2001, Indivisible concludes a radically philosophical and personal series of Fanny Howe novels animated by questions of race, spirituality, childhood, transience, wonder, resistance, and poverty. Depicting the tempestuous multiracial world of artists and activists who lived in working-class Boston during the 1960s, Indivisible begins when its narrator, Henny, locks her husband in a closet so that she might better discuss things with God. On the verge of a religious conversion, Henny attempts to make peace with the dead by telling their stories.
Set against the backdrop of the early 1960s counter-culture, this early novel by Fanny Howe follows a dispossessed young woman deeply influenced by a childhood friend. Her journey from the East to the West Coast of the USA becomes a desperate attempt to escape her past and reinvent herself, ultimately leading to tragedy. The narrative explores themes of identity, friendship, and the quest for belonging in a rapidly changing society.
The story of failure asks one question only: What do people who lose do next? 'Let the best one win.' War is one way. The other way is religion. Let me at the stakes. It's so much a matter of patience. No fury, beyond all reason, no sequence broken, but diverted.Nothing seems to cooperate when you lose control. Blue becomes violet. Bend your head to the blank. The solution is so simple: don't identify yourself with your description of yourself
The newest collection from “one of America’s most dazzling poets” (O, The Oprah Magazine) Set in transit even as they investigate the transitory, the cinematic poems in Love and I move like a handheld camera through the eternal, the minds of passengers, and the landscapes of Ireland and America. From this slight remove, Fanny Howe explores the edge of “pure seeing” and the worldly griefs she encounters there, cast in an otherworldly light. These poems layer pasture and tarmac, the skies above where airline passengers are compressed with their thoughts and the ground where miseries accumulate, alongside comedies, in the figures of children in a park. Love can do little but walk with the person and suddenly vanish, and that recurrent abandonment makes it necessary for these poems to find a balance between seeing and believing. For Howe, that balance is found in the Word, spoken in language, in music, in and on the wind, as invisible and continuous lyric thinking heard by the thinker alone. These are poems animated by belief and unbelief. Love and I fulfills Howe's philosophy of Bewilderment.
"The Needle's Eye: Passing through Youth takes the side of the young--boys and girls, doomed and saved--as they weave their ways through ancient and modern times. The Boston Marathon bombers, Francis and Clare of Assisi, legendary nymphs, and urban nomads occupy this sequence of essays, poems, and tales, their stories and chronologies shifting and overlapping."--Back cover.
"A collage of essays on childhood, language, spiritual biographies, and the writer's life, 'a vocation has no name'"--P. [4] of cover.
"NIGHT PHILOSOPHY is collected around the figure of the child, the figure of the child not just as a little person under the tutelage of adults, but also the submerged one, who knows, who is without power, who doesn't matter. The book proposes a minor politics that disperses all concentrations of power. Fanny Howe chronicles the weak and persistent, those who never assimilate at the cost of having another group to dominate. She explores the dynamics of the child as victim in a desensitized era, when transgression is the zeitgeist, and the victim-perpetrator model controls citizens."-- Provided by publisher