Search results for ""Author Barbara Wright""

The plot of Exercises in Style is simple: a man gets into an argument with another passenger on a bus. However, this anecdote is told 99 more times, each in a radically different style, as a sonnet, an opera, in slang, and with many more permutations. This virtuoso set of variations is a linguistic rust-remover, and a guide to literary forms.

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As one of the leading proponents of the nouveau roman, Nathalie Sarraute is often remembered for her novels, including "The Golden Fruits", which earned her the Prix international de litterature in 1964. But her carefully crafted and evocative memoir "Childhood" may in fact be Sarraute's most accessible and emotionally open work. Written when the author was eighty-three years old, but dealing with only the first twelve years of her life, "Childhood" is constructed as a dialogue between Sarraute and her memory. Sarraute gently interrogates her interlocutor in search of her own intentions, more precise accuracy, and, indeed, the truth. Her relationships with her mother in Russia and her stepmother in Paris are especially heartbreaking: long-gone actions are prodded and poked at by Sarraute until they yield some semblance of fact, imbuing these maternalistic interactions with new, deeper meaning. Each vignette is bristling with detail and shows the power of memory through prose that is by turns funny, sad, and poetic. Capturing the ambience of Paris and Russia in the earliest part of the twentieth century, while never giving up the lyrical style of Sarraute's novels, this book has much to offer both memoir enthusiasts and fiction lovers.

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On a crowded bus at midday, the narrator observes one man accusing another of jostling him deliberately. When a seat is vacated, the first man takes it. Later, in another part of town, the man is spotted again, while being advised by a friend to have another button sewn onto his overcoat. Exercises in Style retells this apparently unremarkable tale ninety-nine times, employing a variety of styles, ranging from sonnet to cockney to mathematical formula. Too funny to be merely a pedantic thesis, this virtuoso set of themes and variations is a linguistic rustremover, a guide to literary forms and a demonstration of imagery and inventiveness.

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Pierrot Mon Ami, considered by many to be one of Raymond Queneau’s finest achievements, is a quirky coming-of-age novel concerning a young man’s initiation into a world filled with deceit, fraud, and manipulation. From his short-lived job at a Paris amusement park where he helps to raise women’s skirts to the delight of an unruly audience, to his frustrated and unsuccessful love of Yvonne, to his failed assignment to care for the tomb of the shadowy Prince Luigi of Poldevia, Pierrot stumbles about, nearly immune to the effects of duplicity.This “innocent” implies how his story, at almost every turn, undermines, upsets, and plays upon our expectations, leaving us with more questions than answers, and doing so in a gloriously skewed style (admirably re-created by Barbara Wright, Queneau’s principle translator).

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In late-nineteenth-century Paris, the writer Hubert is shocked to discover that Icarus, the protagonist of the new novel he’s working on, has vanished. Looking for him among the manuscripts of his rivals does not solve the mystery, so a detective is hired to find the runaway character, who is now in Montparnasse, where he learns to drink absinthe and is picked up by a friendly prostitute.

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Set in a big Dublin hotel of the mid-nineteenth century, The Singular Life of Albert Nobbs is a total theatre creation. In it, we discover that Albert, the perfect waiter – who never drinks, smokes or flirts with the chambermaids – is in fact a woman who once dressed as a man to avoid poverty and is now trapped in the role. Based on a short story by George Moore, which was recently adapted into a major Hollywood film starring Glenn Close, Benmussa’s story releases a string of disturbing questions about the nature of women and society, and is one of the most powerful and groundbreaking plays of the 1970s.

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The Blue Flowers follows two unlikely characters: Cidrolin, who alternates between drinking and napping on a barge parked along the Seine in the 1960s, and the Duke d’Auge as he rages through history—about 700 years of it—refusing to crusade, clobbering his king with a cannon, and dabbling in alchemy. But is it just a coincidence that the Duke appears only when Cidrolin is dozing? And vice versa? As Raymond Queneau explains: “There is an old Chinese saying: ‘I dream that I am a butterfly and pray there is a butterfly dreaming he is me.’ The same can be said of the characters in this novel—those who live in the past dream of those who live in the modern era—and those who live in the modern era dream of those who live in the past.” Channeling Villon and Céline, Queneau attempts to bring the language of the French streets into common literary usage, and his mad wordplays, puns, bawdy jokes, and anachronistic wackiness have been kept amazingly and glitteringly intact by the incomparable translator Barbara Wright.

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On a crowded bus at midday, Raymond Queneau observes one man accusing another of jostling him deliberately. When a seat is vacated, the first man appropriates it. Later, in another part of town, Queneau sees the man being advised by a friend to sew a new button on his overcoat. Exercises in Style — Queneau’s experimental masterpiece and a hallmark book of the Oulipo literary group — retells this unexceptional tale ninety-nine times, employing the sonnet and the alexandrine, onomatopoeia and Cockney. An “Abusive” chapter heartily deplores the events; “Opera English” lends them grandeur. Queneau once said that of all his books, this was the one he most wished to see translated. He offered Barbara Wright his “heartiest congratulations,” adding: “I have always thought that nothing is untranslatable.Here is new proof.” To celebrate the 65th anniversary of the 1947 French publication of Exercises de Style, New Directions has asked several writers to contribute new exercises as a tribute. Tantalizing examples include Jonathan Lethem’s “Cyberpunk,” Harry Mathew’s “Phonetic Eros,” and Frederic Tuten’s “Beatnik” exercises. This edition also retains Barbara Wright’s original introduction and reminiscence of working on this book — a translation that in 2008 was ranked first on the Author’s Society’s list of “The 50 Outstanding Translations of the Last 50 Years.”

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Published originally as the purported French translation of a novel by fictional Irish writer Sally Mara, We Always Treat Women Too Well is set in Dublin during the 1916 Easter Rising and tells the story of the siege of a small post office by a group of rebels, who discover to their embarrassment that a female postal clerk, Gertie Girdle, is still in the lavatory some time after they have shot or expelled the rest of the staff. The events that follow are not for prudish readers, forming a scintillating, linguistically delightful and hilarious narrative. By far Queneau’s bawdiest work, We Always Treat Women Too Well contains all of its author’s hallmarks: wit, stylistic innovation and formal playfulness – expertly rendered into English by Barbara Wright’s classic translation.

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The cult classic from one of France's most stylish writers'Don't give a damn,' says Zazie, 'what I wanted was to go in the metro'Impish, foul-mouthed Zazie arrives in Paris from the country to stay with her uncle Gabriel. All she really wants to do is ride the metro, but finding it shut because of a strike, Zazie looks for other means of amusement and is soon caught up in a comic adventure that becomes wilder and more manic by the minute. In 1960 Queneau's cult classic was made into a hugely successful film by Louis Malle. Packed full of word play and phonetic games, Zazie in the Metro remains as stylish and witty as ever.

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Mr Rouse has decided to build himself a house. Inevitably, the process is much longer and more detailed than Mr Rouse initially envisages: "Mr Builder, I'm not a bird, you know; how could I live in a house made of leaves?" This quirky tale takes the reader through a timeline of inventions. In a wonderful blend of absurd poetry and British pragmatism, Mr Rouse contends with housing, transport, lighting, plumbing and timekeeping, encountering quarrelling stairs and dapper guttering on his way.

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Hobson's Island (so called because Mr. Hobson bought it, or did Mr. Hobson buy it because it was so called?) enjoyed decades of isolation in the Atlantic Ocean. For years, the caretakers lived there peacefully, with only a cow for company and an empty house to care for. But all is suddenly disrupted when a wave of unusual visitors arrive: a deposed African king fleeing a revolution, a Hobson descendant claiming ownership, government agents eyeing the nation-less real estate, and scientists looking to test a dangerous new invention. In typical Themerson fashion, the comic is wound up with the serious and let go to devastating effect. A clever and apt parodying of Cold War power plays and twisted science, Hobson's Island is a strangely touching, sympathetic, and emotional account of the families and individuals brought together and broken up by Hobson's Island.

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When shop-owner Julia Segovia decides that she’s going to marry the handsome if exceedingly young and naive soldier Valentin Brû, he willingly goes along with her scheme. Little does he know that he will have to contend with disgruntled in-laws, eccentric locals, a cunning wife, a shifty career in fortune-telling, the approaching threat of war with Germany and the mysteries of Parisian public transport. With a cast of eccentric characters, amusing incidents and an uplifting tone, The Sunday of Life – its title playfully alluding to Hegel’s theory of history – is a scintillating novel which showcases Queneau’s trademark punning, sly wit and delight in the absurdity of people and situations.

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-- First paperback edition. -- Formally inventive and utterly joyous, Grabinoulor recounts the fantastic adventures of its light-hearted, satyric, eponymous hero as he visits other planets, time travels, and finds poetry everywhere he goes. -- Grabinoulor has been praised highly by authors as diverse as Apollinaire, Celine, and Queneau. -- Albert-Birot founded and edited one of the first avant-garde book reviews, SIC, which published the futurists, the Dadaists, and the Surrealists. Grabinoulor was first published in its pages. -- First U.S. edition by Dalkey Archive ('87).

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Trio marks the first time these three shorter Pinget works are collected in a single volume. From the sublime surrealism of Between Fantoine and Agapa, through the Faulknerian take on rural life in That Voice, to the musical rhythm and flow of Passacaglia, this collection charts the varied career of one of the French New Novel's true luminaries.The space between the fictional towns of Fantoine and Agapa is akin to Faulkner's Yoknapatawpha County: an area where provincialism is neither romanticized nor parodied; where intrigue--often violent intrigue--confronts the bucolic ideal held both by insiders and outsiders; and where reality is shaped not by events, but by talk and gossip, by insinuation and conjecture. Written over the course of his career, these three novels are by turns hilarious and dark, surreal and painstakingly accurate; together they demonstrate the consistent quality of Pinget's versatility.

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One of the most extraordinary events of the late nineteenth century in Paris was the opening on December 11, 1896, at the Théâtre de l’Oeuvre, of Alfred Jarry’s play Ubu Roi. The audience was scandalized by this revolutionary satire, developed from a schoolboy farce, which began with a four-letter word, defied all the traditions of the stage, and ridiculed the established values of bourgeois society. Barbara Wright’s witty translation of this riotous work is accompanied with drawings by Franciszka Themerson. Two previously untranslated essays in which Jarry explains his theories of the drama have also been included.

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