Лидия Дэвис — новинки

From one of the most accomplished writers of our time comes another brilliant collection of short fiction. Artful, deft, and inventive; Lydia Davis' newest collection of stories delves into topics ranging from marriage to tiny insects. These stories are a celebration of language and careful observation that once again confirms Davis' sincere love and mastery of the form.

Лидия Дэвис (р. 1947) — американская писательница, эссеистка, переводчица французской литературы, мастер коротких историй, лауреатка Международной Букеровской премии. В настоящем издании представлены рассказы из сборника «Не могу и не хочу» (Can’t and Won’t, 2014).

Проза Лидии Дэвис далеко заходит в остранении: знакомые и банальные предметы, живые существа и сам язык как конструктор текста пристально рассматриваются, расщепляются и пересобираются. Действительность, собранная из строительных кирпичиков слов и понятий, абсурдна и ирреальна, оборачиваясь сном или перетекая в текст, записанный ироничным наблюдателем — самой Дэвис.

Read the definitive essay collection from the Sunday Times bestselling author of The Adversary, dubbed 'France's greatest writer of non-fiction' (New York Times)
'The most exciting living writer' Karl Ove Knausgaard
Over the course of his career, Emmanuel Carrère has reinvented non-fiction writing. In a search for truth in all its guises, he dispenses with the rules of genre. For him, no form is out of reach: theology, historiography, reportage a

From the International Man Booker Prize-winning author of Can't and Won't and The End of the Story - a crystalline collection of literary essays for fans of Susan Sontag and Joan Didion

'She's a joy. There's no writer quite like her' Ali Smith

'Among my most favourite writers. Read her now!' A. M. Homes

The visionary, fearless Lydia Davis presents a dazzling collection of essays on reading and writing, exploring the full scope of possibility within existing forms of literature and considering how we might challenge and reinvent these forms.

Through Thomas Pynchon, Michel Leiris, Maurice Blanchot, Lucia Berlin, Joan Mitchell and others, he author considers her many creative influences. And, through these lenses, she returns to her own writing process, her relationship to language and the written word. Beautifully formed, thought-provoking, playful and illuminating, these pieces are a masterclass in reading and writing.

A selection of essays on writing and reading by the master short-fiction writer Lydia Davis

Lydia Davis is a writer whose originality, influence, and wit are beyond compare. Jonathan Franzen has called her "a magician of self-consciousness," while Rick Moody hails her as "the best prose stylist in America." And for Claire Messud, "Davis's signal gift is to make us feel alive."

Best known for her masterful short stories and translations, Davis's gifts extend equally to her nonfiction. In Essays I, Davis has, for the first time, gathered a selection of essays, commentaries, and lectures composed over the past five decades.

In this first of two volumes, her subjects range from her earliest influences to her favorite short stories, from John Ashbery's translation of Rimbaud to Alan Cote's painting, and from the Shepherd's Psalm to early tourist photographs. On display is the development and range of one of the sharpest, most capacious minds writing today.

The End of the Story

Can't and Won't

The Collected Stories of Lydia Davis

Проза Лидии Дэвис совершенно не укладывается в привычные рамки и кому-то может показаться причудливой или экстравагантной. Порой ее рассказы лишены сюжета, а иногда и вовсе представляют собой литературные миниатюры, состоящие лишь из нескольких фраз. Однако как бы эксцентрична ни была форма, которую Дэвис выбирает для своих произведений, и какими бы странными ни выглядели ее персонажи, проза эта необычайно талантлива и психологически достоверна, а в персонажах, при всей их нетривиальности, мы в глубине души угадываем себя.

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Her stories may be literal one-liners: the entirety of "Bloomington" reads, "Now that I have been here for a little while, I can say with confidence that I have never been here before." Or they may be lengthier investigations of the havoc wreaked by the most mundane disruptions to routine: in "A Small Story About a Small Box of Chocolates," a professor receives a gift of thirty-two small chocolates and is paralyzed by the multitude of options she imagines for their consumption. The stories may appear in the form of letters of complaint; they may be extracted from Flaubert's correspondence; or they may be inspired by the author's own dreams, or the dreams of friends.
What does not vary throughout Can't and Won't, Lydia Davis's fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and sly humor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patterns of daily life.

Can't and Won't is the new collection from Lydia Davis, one of the greatest short story writers alive. Lydia Davis has been universally acclaimed for the wit, insight and genre-defying formal inventiveness of her sparkling stories. With titles like 'A Story of Stolen Salamis', 'Letters to a Frozen Pea Manufacturer', 'A Small Story About a Small Box of Chocolates', and 'Can't and Won't', the stories in this new collection illuminate particular moments in ordinary lives and find in them the humorous, the ironic and the surprising. Above all the stories revel in and grapple with the joys and constraints of language - achieving always…

The cahier comprises three linked pieces by the translator and short story writer, Lydia Davis. First is 'A Proust Alphabet', which gives an account of several words and issues of particular interest, encountered during the author s recent translating of Marcel Proust's Swann's Way. There follows a short article on the French thinker and novelist Maurice Blanchot, entitled 'The Problem in Summarising Blanchot'. Finally comes a series of dreams and dreamlike moments, recounted in 'Swimming in Egypt: Dreams while Awake and Asleep'. The text is accompanied by ten tritone photographs by Ornan Rotem.

Lydia Davis is one of our most original and influential writers. She has been called “an American virtuoso of the short story form” (Salon) and “one of the quiet giants . . . of American fiction” (Los Angeles Times Book Review). Now, for the first time, Davis’s short stories will be collected in one volume, from the groundbreaking Break It Down (1986) to the 2007 National Book Award nominee Varieties of Disturbance.

The Collected Stories of Lydia Davis is an event in American letters.

'Davis's short stories are perfected economies, witty devices, precision-made, primed to release intelligence, philosophy, hilarity. They celebrate the thinking universe while they redefine the possibilities of the form. There is no other writer quite like her' Ali Smith

Find out why fellow authors like Ali Smith, Dave Eggers, Jonathan Franzen love Lydia Davis's writing so much in this landmark collection of all of her stories to date from across three decades. And why James Wood described this book in the New Yorker as 'a body of work probably unique in American writing' and 'one of the great, strange American literary contributions'.

The thirty-four stories in this seminal collection powerfully display what have become Lydia Davis's trademarks—dexterity, brevity, understatement, and surprise. Although the certainty of her prose suggests a world of almost clinical reason and clarity, her characters show us that life, thought, and language are full of disorder. Break It Down is Davis at her best. In the words of Jonathan Franzen, she is "a magician of self-consciousness."

Mislabeled boxes, problems with visiting nurses, confusing notes, an outing to the county fair--such are the obstacles in the way of the unnamed narrator of The End of the Story as she attempts to organize her memories of a love affair into a novel. With compassion, wit, and what appears to be candor, she seeks to determine what she actually knows about herself and her past, but we begin to suspect, along with her, that given the elusiveness of memory and understanding, any tale retrieved from the past must be fiction.

Este libro surgi? con bastante naturalidad: pens? que era hora de recopilar los textos de no ficci?n que hab?a tenido la oportunidad de escribir a lo largo de las d?cadas y reunirlos en un solo volumen. Como no eran para nada escasos, tuve que decidir si hacer un solo tomo, grueso, o dos m?s razonables. Ped? opiniones y cont? votos, sopes? los pros y los contras, y, al final, me decid? por hacer dos. As? reflejar?a, en cierta medida, dos de las ocupaciones principales de mi vida: la escritura y la traducci?n. Este es el primer tomo.

En este libro, Lydia Davis recuerda a los escritores que influyeron tempranamente en su escritura, declara cu?les son sus cinco cuentos favoritos y analiza la obra de aquellos que la interpelaron, por diferentes motivos, a lo largo de los a?os: Lucia Berlin, Gustave Flaubert, Rae Armantrout, Jane Bowles, entre otros. Tambi?n se detiene en las artes visuales, y reflexiona sobre la obra de Joan Mitchell y de Alan Cote e indaga en las primeras fotograf?as de viajes. Finalmente, con absoluta generosidad, aborda la escritura desde su propia pr?ctica: as? comparte diferentes versiones de un mismo texto y elabora un ensayo imprescindible con treinta recomendaciones para una buena rutina de escritura.
"Aguda, h?bil, ir?nica, sobria y constantemente sorprendente". Joyce Carol Oates
"Una escritora atrevida, excitantemente inteligente y, a menudo, muy divertida". Ali Smith