Siri Hustvedt Knihy

Provokativní, vtipný a neotřelý román o ženách a dívkách, lásce a manželství a otázce staré jako lidstvo samo: v čem jsou muži a ženy stejní a v čem se diametrálně liší? Zčistajasna vám manžel po třiceti letech oznámí, že si dává pauzu. Ta pauza je o třicet let mladší Francouzka s bujným poprsím. Vaše reakce: a) usoudíte, že je to jen bezvýznamný románek, a přistoupíte na jeho hru; b) nasupeně prohlásíte manželství za ukončené; c) zhroutíte se; d) odklidíte se do bezpečného útočiště a dáte se dohromady? Mia Fredericksenová se nejprve zhroutí a potom na léto přesídlí do prérijního městečka svého dětství, aby mohla zuřit, vztekat se a truchlit nad svým ubohým životem opuštěné manželky. Pomaloučku je ale vtahována do životů, které ji obklopují: její matky ve společnosti čilých vdov; mladé sousedky se dvěma malými dětmi a hlučným, výbušným manželem; a ďábelských puberťaček v kurzu poezie, který ve městě vede. Na konci léta bez mužů už moudřejší, ale nikoli smutnější Mia ví, za co chce bojovat. Provokativní, břitký a sofistikovaný román Léto bez mužů je úžasně vitální tragikomedií o ženách a dívkách, lásce a manželství a odvěkém konkurenčním boji mezi oběma pohlavími — román příhodný pro naši dobu od jedné z nejuznávanějších amerických spisovatelek.

This is the story of two men who first become friends in 1970s New York, of the women in their lives, and of their sons, born the same year. Both Leo Hertzberg, an art historian, and Bill Weschler, a painter, are cultured, decent men, but neither is equipped to deal with what happens to their children - Leo's son drowns when he's 12, while Bill's son Mark grows up to be a delinquent, and the acolyte of a sinister, guru-like artist who spawns murder in his wake. Spanning the hedonism of the eighties and the chill-out nineties, this multi-layered novel combines a plot of mounting menace with a deeply moving account of familial relationships and a superbly observed portrait of an artist, set against the backdrop of a society reaching new depths of depravity in its frenetic quest for the next fashion, drug and thrill.

From the author of the international bestseller What I Loved, a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art.

Gerhard Richter has time and again drawn on photographs as the basis for works in his multifaceted oeuvre, and art historians have frequently studied his blurred paintings of photographs. However, Richter has also painted directly on commercial prints in oil. Inspired by the accidental spots and traces of paint on the source material, he produced pictorial overpaintings. These kinds of overpaintings appeared in works as early as his 'Atlas. 'Practically all of these mostly small-format paintings are in private collections and rarely exhibited in public. In these subjects, covered with a painterly veil, Richter continues to prove that he is a “master at keeping his distance,” as Robert Storr once formulated it. This monograph offers a unique opportunity to honor what has previously been a neglected but copious complex of works in the artist’s oeuvre. (English edition ISBN 978-3-7757-2243-8) Exhibition schedule: Museum Morsbroich, Leverkusen, October 17, 2008–January 18, 2009 Centre de la photographie Genève, Genf January 29–March 29, 2009

Internationally acclaimed as a novelist, Siri Hustvedt is also highly regarded as a writer of non-fiction whose insights are drawn from her broad knowledge in the arts, humanities and sciences. In this trilogy of works collected in a single volume, Hustvedt brings a feminist, interdisciplinary perspective to a range of subjects. Louise Bourgeois, Pablo Picasso, Susan Sontag and Knut Ove Knausgaard are among those who come under her scrutiny. In the book's central essay, she explores the intractable mind-body problem and in the third section, reflects on the mysteries of hysteria, synesthesia, memory, perception and the philosophy of Kierkegaard. With clarity, wit, and passion, she exposes gender bias, upends received ideas and challenges her reader to think again.

Essays that explore what it means to be a human being draw upon the author's personal experiences; thoughts on memory, emotion, and the imagination; and the visual arts.

From the internationally bestselling author of What I Loved and The Summer Without Men, a dazzling collection of essays written with Siri Hustvedt's customary intelligence, wit and ability to convey complex ideas in a clear and lively way. Divided into three sections - Living, which draws on Siri's own life; Thinking, on memory, emotion and the imagination; and Looking, on art and artists - the essays range across the humanities and science as Siri explores how we see, remember, feel and interact with others, what it means to sleep, dream and speak, and what we mean by 'self'. The combination offers a profound and fascinating insight into ourselves as thinking, feeling beings.

Feminist philosophy meets family memoir in a fresh essay collection by the award-winning essayist and novelist Siri Hustvedt, author of the bestselling What I Loved and Booker Prize-longlisted The Blazing World.

Erik Davidsen and his sister Inga uncover a troubling note in their late father's papers, prompting them to explore the mysteries of his youth and the implications for his relationship with them. Reprint.

From the author of the international bestseller What I Loved, a provocative collection of autobiographical and critical essays about writing and writers. Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art.