Search results for ""Author Fleur Jaeggy""

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Book SynopsisJane y Rachel, dos niñas que parecen surgidas de una fotografía de Lewis Carroll, conversan bajo la mirada de su tutor, en un lugar impreciso de Inglaterra, sobre temas tan trascendentales como la muerte, el vacío, el poder o los orígenes. Arrogantes, severas y melancólicas, las dos parecen dar por supuesto que es legítimo, y en absoluto vergonzoso, hablar de esas grandes cuestiones a su edad. Pero en ese ambiente cerrado y opresivo las cosas cambian con la aparición de cierto ángel de la guarda, mientras, poco a poco, el reflejo que cada una de ellas ve de sí misma en el espejo va asemejándose cada vez más al de la otra. Esa tesitura propicia lo que escritores como Enrique Vila-Matas admiran en Jaeggy: consigue muchas veces en una sola página, y a veces en una sola línea, que se haga visible de golpe, a modo de repentina revelación, la estructura desnuda de la verdad.

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Book SynopsisA fifteen-year-old girl and her father, Johannes, take a cruise to Greece on the SS Proleterka. Jaeggy recounts the girl's youth in her distinctively strange, telescopic prose: the remarried mother, cold and unconcerned; the father who was allowed only rare visits with the child; the years spent stashed away with relatives or at boarding school. For the girl and her father, their time on the ship becomes their `last and first chance to be together.' On board, she becomes the object of the sailors' affection, receiving a violent, carnal education. Mesmerised by the desire to be experienced, she crisply narrates her trysts as well as her near-total neglect of her father.Proleterka is a ferocious study of distance, diffidence and `insomniac resentment.'Trade Review`"Incorruptible crystal" is an apt description of Jaeggy's style. Her sentences are hard and compact, more gem than flesh. Images appear as flashes, discontinuous, arresting, then gone . . . this feels appropriate for a writer who is a "stranger" and an "enemy" to the familial.' Sheila Heti, The New Yorker ---- `Jaeggy's works are a translator's dream: short, lucid and complex. Her distinctive vocabulary and syntax move elegantly and it would seem effortlessly into the English language.' Margaret Drabble, The New Statesman ---- `. . . an elegantly structured and stubbornly moving study of innocence destroyed and love denied. Very accomplished indeed.' Kirkus Reviews ---- `. . . an elegantly structured and stubbornly moving study of innocence destroyed and love denied. Very accomplished indeed.' Kirkus Reviews ---- `[Jaeggy] has a startling ability to go beyond: beyond the sentimental heart, the writerly niceties, the conventions that bind us, and the messy effusions of contemporary life.' The New Yorker ---- `[Jaeggy] has a startling ability to go beyond: beyond the sentimental heart, the writerly niceties, the conventions that bind us, and the messy effusions of contemporary life.' The New Yorker --- Praise for Fleur Jaeggy --- `Fleur Jaeggy's pen is an engraver's needle depicting roots, twigs, and branches of the tree of madness-extraordinary.' Joseph Brodsky ---- 'The fierceness of her words erupts from the seams of her tiny sentences ... Jaeggy's highly unusual work is finally gaining recognition in the English-speaking world.' Emily Rhodes, The Spectator---`Proleterka is a ferocious study - a masterclass in distance , diffidence, death, and `insomniac resentment.’ Barbara Epler

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Book SynopsisSet in post-war Switzerland, Fleur Jaeggy's novel begins simply and innocently enough: `At fourteen I was a boarder in a school in the Appenzell'. But there is nothing truly simple or innocent here. With the offhanded knowingness of a remorseless young Eve, the narrator describes life as a captive of the school and her designs to win the affections of the seemingly perfect new girl, Frederique. As she broods over her schemes as well as on the nature of control and madness, the novel gathers a suspended, unsettling energy.Trade Review`A wonderful, brilliant, savage writer.' Susan Sontag ---------- `Fleur Jaeggy's pen is an engraver's needle depicting roots, twigs, and branches of the tree of madness - extraordinary.' Joseph Brodsky ---------- `She has the enviable first glance for people and things, she harbors a mixture of distracted levity and authoritative wisdom.' Ingeborg Bachmann ---------- `Small-scale, intense, and impeccably focused.' New Yorker ----------'Nothing rivals its intensity.' Los Angeles Times ---------- 'How a novel could be so chilly and so passionate at the same time is a puzzle, but that icy-hot quality is only one of the distinctions of Sweet Days of Discipline.' Newsday ----------- 'Startling and original-so disturbing and so haunting.' The New York Review of Books----'Thank the gods and tip the devil for Fleur Jaeggy!'Claire-Louise Bennett, author of Pond

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Book SynopsisA wife is suspended in a bird cage; a thirteenth-century visionary senses the foreskin of Christ on her tongue: Fleur Jaeggy's gothic imagination knows no limits. Whether telling of mystics, tormented families or famously private writers, Jaeggy's terse, telegraphic writing is always psychologically clear-eyed and deeply moving, always one step ahead, or to the side, of her readers' expectations. In this, her long-awaited return, we read of an 'eerie maleficent calm, a brutal calm', and recognise the timbre of a writer for whom a paradoxical world seethes with quiet violence.Trade Review'A wonderful, brilliant, savage writer.' Susan Sontag -------- 'Fleur Jaeggy's pen is an engraver's needle depicting roots, twigs, and branches of the tree of madness-extraordinary.' Joseph Brodsky -------- 'She has the enviable first glance for people and things, she harbors a mixture of distracted levity and authoritative wisdom.' Ingeborg Bachmann -------- 'Small-scale, intense, and impeccably focused.' New Yorker -------- 'Startling and original-so disturbing and so haunting.' Cathleen Schine, The New York Review Of Books----'Thank the gods and tip the devil for Fleur Jaeggy!' Claire-Louise Bennett, author of Pond

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Book SynopsisFamily, obsession, and privilege boiled down by the icy-hot Swiss-Italian master stylist Fleur Jaeggy. Even among Jaeggy’s singular and intricate works, The Water Statues is a shiningly peculiar book. Concerned with loneliness and wealth’s odd emotional poverty, this early novel is in part structured as a play: the dramatis personae include the various relatives, friends, and servants of a man named Beeklam, a wealthy recluse who keeps statues in his villa’s flooded basement, where memories shiver in uncertain light and the waters run off to the sea.Fleshed out with Jaeggy’s austere yet voluptuous style, The Water Statues delivers like a slap an indelible picture of the swampiness of family life. ‘Reading Jaeggy is not unlike diving naked and headlong into a bramble of black rose bushes, so intrigued you are by their beauty: it’s a swift, prickly undertaking, and you emerge the other end bloodied all over’ -Daniel Johnson, The Paris ReviewTrade Review‘Stark, surprising prose. It’s hard to capture in a line or two the strange precision of Jaeggy’s prose. Darkness seems never far away.’ Martin Riker, New York Times Book Review ---- ‘It is hard not to be impressed by Jaeggy’s own spiritual and aesthetic grandeur, which casts her stories in such a compellingly cool light. She, too, has a startling ability to go beyond: beyond the sentimental heart, the writerly niceties, the conventions that bind us, and the messy effusions of contemporary life. She once said, in an interview, “One should be in one’s own void. Void is silence. Solitude. An absence of relationships. . . . The void is a plant that must continually be watered.” It is our good fortune that she sits at her swamp-green typewriter, watering it.’ Sheila Heti, The New Yorker ---- ‘Jaeggy’s astute compression of narrative detail is at once serene and startling. Beneath a placid, opalescent surface lurks a threat of violence that may or may not be realised, but which contributes to the profound impression that people and their lives are unpredictable, coursing with icy, barren wildness.’ Emily Labarge, Los Angeles Review of Books ---- ‘Jaeggy seems to have crushed a glass in her palm and tweezed out a few shards for the page. Her prose is indeed extraordinary – it is also frightening.’ The Rumpus ---- ‘Reading Jaeggy is not unlike diving naked and headlong into a bramble of black rose bushes, so intrigued you are by their beauty: it’s a swift, prickly undertaking, and you emerge the other end bloodied all over.’ Daniel Johnson, The Paris Review ---- ‘It is thrilling to live in Jaeggy’s worlds, which are so intense they threaten to boil over.’ Publishers Weekly ---- ‘A beautiful but inscrutable book about disconnection and the passage of time.’ Kirkus ---- ‘In this strange and shimmering nonlinear text from Swiss writer Jaeggy, the lonely children of the wealthy and their eccentric employees negotiate the boundary between companionship and solitude...In short, enjoyably expressionistic sections, Jaeggy sketches the emotional lives of people marooned but not content to remain entirely alone. What emerges is a fascinating and memorable portrait of a milieu obsessed with the passing of time.’ Publishers Weekly

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Book SynopsisBrief in the way a razor’s slice is brief, remarkable essays by a peerless stylistTrade Review"Jaeggy’s book is poetical-biographical, fictional-critical, essayistic-historical—a book unlimited." -- Commonweal Magazine"Jaeggy is a master of the short form; her essays are charged with a nearly combustible vitality, her stories without fail are compact and devastating. Long after the pleasure of reading is over, their little hooks tug at — what is it, the heart or the mind? These Possible Lives presents brief portraits of three real-life metaphysicians: English opium-eater Thomas De Quincey, Romantic poet John Keats and French symbolist Marcel Schwob. The biographies are constructed from unconnected details culled from accounts by her subjects and contemporaries, rather than from narrative and analysis. The results vibrant and unforced, shimmering with the complexity of reality." -- Financial Times"Enjoy these short, meditative pieces slowly; Jaeggy is addictive." -- Kirkus Reviews"Three spare and telegraphic essays about Thomas De Quincey, John Keats, and Marcel Schwob, in which each account is self-contained and exquisitely precise, capture the arc of a whole life with filigreed economy." -- Los Angeles Review of Books"Terse beauties falling on the reader like a chaste gray rain." -- Robert Byers - The New Republic"In These Possible Lives (2017, translated by Minna Zallman Proctor) Jaeggy offers three very short biographical sketches of Keats, De Quincey, and the fin-de-siecle symbolist orientalist Jewish Parisian Schwob. Their hallucinatory intensity and heightened language recall the prose poems of Baudelaire’s Le Spleen de Paris, with their invocations of wine and hashish, their pose of le poete maudit." -- Margaret Drabble - The New Statesman"Brilliant, associative and short, Jaeggy’s essays have the beauty and economy of poems but the souls of portraits, discovering 'human characteristics amidst the chaos' — which fairly describes her project overall." -- Martin Riker - The New York Times Book Review"Small-scale, intense, and impeccably focused." -- The New Yorker"She has the enviable first glance for people and things, she harbors a mixture of distracted levity and authoritative wisdom." -- Ingeborg Bachmann"Delicious—such monstrous control and insight that at moments while reading you experience a distinct feeling of levitation." -- Carole Maso

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Book SynopsisAs concentrated as bullets, new stories by the inimitable Fleur JaeggyTrade Review"Finely distilled and evocative stories." -- BBC"Jaeggy is a master of the short form; her essays are charged with a nearly combustible vitality, her stories without fail are compact and devastating. Long after the pleasure of reading is over, their little hooks tug at — what is it, the heart or the mind? I Am the Brother of XX bears the thematic hallmarks of Jaeggy’s fiction...stony family relations and theology that is not merely unorthodox but downright perverse. Jaeggy’s prose is superb (and as superbly translated) as ever, her characteristic desolation as self-possessed as it is recherche´." -- Financial Times"Jaeggy's astute compression of narrative detail is at once serene and startling. Beneath a placid, opalescent surface lurks a threat or violence that may or may not be realized, but which contributes to the profound impression that people and their lives are unpredictable, coursing with icy, barren wildness." -- Los Angeles Review of Books"Swiss-Italian Jaeggy, a master of the short form, again creates something unforgettable with these otherworldly stories, translated by Gini Alhadeff. They frame haunting, dreamlike moments: a 13th-century woman senses the taste of “Christ’s foreskin … tender as egg skin and very sweet”; an orphan burns alive the aristocrat who took her in “for the blasted glory of it”; a family is cursed by a possessed mandrake root. Told in Jaeggy’s characteristically jagged prose, these dark stories of madness, loss and murder are urgent and evocative. Central to each are surreal images reminiscent of paintings by Leonora Carrington or Max Ernst: “her hands, like the claws of a crustacean, clutched at a little mound of dust”. This is an intensely beautiful and original collection that bristles with a strange and often disturbing magic." -- Claire Kohda Hazelton - The Guardian"The fictional stories [ofI Am the Brother of XX] deal with by now familiar motifs of arson, ill health, insomnia, suicide, isolation, hauntings, vendettas and murder: some are Gothic tales of the supernatural, featuring ghosts and saints and mandrakes....And death haunts: the death of Sissi, Empress of Austria, assassinated on the shores of Lake Geneva in 1898; the suicide of the Austrian poet and painter Adalbert Stifter, who cut his throat in Linz in 1868." -- Margaret Drabble - The New Statesman"Startling and original—so disturbing and so haunting." -- Cathleen Schine - The New York Review of Books"Stark, surprising prose. It’s hard to capture in a line or two the strange precision of Jaeggy’s prose. Darkness seems never far away." -- Martin Riker - The New York Times Book Review"This book is twisted and hypnotizing and, somehow, downright lovely. Reading it is not unlike diving naked and headlong into a bramble of black rosebushes, so intrigued you are by their beauty: it’s a swift, prickly undertaking, and you emerge the other end bloodied all over." -- Daniel Johnson - the Paris Review"Jaeggy's prose gleams like cut gems." -- Tess Lewis - The Riveter"A wonderful, brilliant, savage writer." -- Susan Sontag"Fleur Jaeggy’s pen is an engraver’s needle depicting roots, twigs, and branches of the tree of madness—extraordinary." -- Joseph Brodsky"Nothing rivals its intensity." -- The Los Angeles Review of Books"How a novel could be so chilly and so passionate at the same time is a puzzle, but that icy-hot quality is only one of the distinctions of Sweet Days of Discipline." -- April Bernard - Newsday"Jaeggy seems to have crushed a glass in her palm and tweezed out a few shards for the page. Her prose is indeed extraordinary...it is also frightening." -- Sasha Archibald - The Rumpus

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