Julia Blackburn se zabývá fascinujícími, často opomíjenými aspekty lidské zkušenosti. Její literární styl se vyznačuje hlubokou empatií a pronikavým vhledem do psychologie postav. Autorka se zaměřuje na témata paměti, identity a složitých vztahů mezi lidmi a jejich prostředím. Její díla čtenáře zvou k zamyšlení nad neviditelnými silami, které formují naše životy.
The narrative explores Julia Blackburn's journey to the Karoo region of South Africa, where she investigates the ancestral lands of the persecuted /Xam people. In the 19th century, facing cultural extinction, they contributed to the Bleek-Lloyd Archive, a collection of 60,000 pages capturing their language, dreams, and traumas. This archive serves as a vital record of their worldview, emphasizing their belief that "all things were once people," offering a profound insight into a nearly lost way of life.
Shortly after her husband’s death, Julia Blackburn became fascinated with Doggerland, the vast once-populated stretch of land that connected Great Britain to Continental Europe thousands of years ago but is now under the North Sea. She felt driven to explore the lives of the people who lived there as revealed through artifacts and the fossil record. In Time Song, she brings us along on her journey, introducing us to the paleontologists, archaeologists, fishermen, and fellow Doggerland enthusiasts she meets along the way. What emerges is a lyrical exploration—part travelogue and part history—and a profound meditation on time and the immensity of the past.
Shortlisted for the 2011 Costa Biography Award and the 2012 Royal Society of
Literature Ondaatje Prize Julia Blackburn and her husband moved to a little
house in the mountains of northern Italy in 1999.
In 1792, when he was forty-seven, the Spanish painter Francisco de Goya contracted a serious illness that left him stone deaf. In this extraordinary book, Julia Blackburn follows Goya through the remaining thirty-five years of his life. It was a time of political turmoil, of war, violence, and confusion, and Goya transformed what he saw around him into visionary paintings, drawings, and etchings. These were also years of tenderness for Goya, of intimate relationships with the Duchess of Alba and with Leocadia, his mistress, who accompanied him to the end. Blackburn’s singular distinction as a biographer is her uncanny ability to create a kaleidoscope of biography, memoir, history, and meditation—to think herself into another world. In Goya she has found the perfect subject. Visiting the towns Goya frequented, reading the revelatory letters that he wrote for years to a boyhood friend, investigating the subjects he portrayed, Julia Blackburn writes about the elderly painter with the intimacy of an old friend, seeing through his eyes and sharing the silence in his head. With unprecedented immediacy and illumination, Old Man Goya gives us an unparalleled portrait of the artist.
To escape from her own sadness, a woman finds refuge in a past time. In a village by the sea she watches the lives of the inhabitants unfold around her. But the year is now 1410 and this is a world of devils and miracles, a world in which there are no clear boundaries between reality and the power of the imagination.A man's discovery of a mermaid washed up on the sand starts a chain of events that leads three of the villagers to accompany the enigmatic figure of the leper on a pilgrimmage to the Holy Land. The woman joins them and sets out without the certainty of ever coming home again.The Leper's Companions was shortlisted for the Orange Prize.
In langem schwarzem Rock, Bluse, Krawatte und Hut sitzt Daisy Bates auf einem Stuhl in der Wüste. Sie sieht finster aus, Furcht einflößend, stolz, traurig, ernst, sehr schön und in jeder Hinsicht so gefährlich, wie eine Frau ihres Schlags nur sein konnte. Dreißig Jahre verbringt sie bei den Aborigines in der Wüste, schließt Freundschaft mit ihnen, taucht in ihre Traditionen ein. »Kabbarli« nennen sie sie, die Großmutter. Julia Blackburn sucht in Tagebüchern, Briefen und vergilbten Fotografien nach dem wahren Leben der Daisy Bates. Die Spuren erzählen von der roten Monotonie der Sandhügel, von einem blendend hellen Himmel und einer wütenden Sonne, die dunkle Flecken auf der Haut hinterlässt. Und von einer bemerkenswerten Frau, die alles zurücklässt, um einen neuen Weg zu begehen.
In 1913, at the age of 54, Daisy Bates went to live in the deserts of South Australia. Brilliantly reviewed, astonishingly original, this "eloquent and illuminating portrait of an extraordinary woman" (New York Times Book Review) tells a fascinating, true story in the tradition of Isak Dinesen and Barry Lopez.
