Bøker av Anne Carson

* The definitive and ONLY complete translation of Sappho, by one of the world's greatest living poets

In her first collection in five years, Anne Carson contemplates 'decreation' - an activity described by Simone Weil as 'undoing the creature in us' - an undoing of self. Where else can we start?Anne Carson's Decreation starts with form - the undoing of form.

In a stunningly original mix of poetry, drama, and narrative, Anne Carson brings the red-winged Geryon from Autobiography of Red, now called 'G', into manhood, and through the complex labyrinths of the modern age.

Wrong Norma is Anne Carson's first book of original material in eight years'If she was a prose writer she would instantly be recognised as a genius'COLM TÓIBÍN'She pinpoints the collision of oracle and anachronism'TEJU COLEAs with her most recent publications, Wrong Norma is a facsimile edition of the original hand-designed book, drawn and annotated by the author. Several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like the New Yorker and the Paris Review.Anne Carson is probably our most celebrated living poet, winner of countless awards and routinely tipped for the Nobel Prize in Literature. Famously reticent, asking that her books be published without cover copy, she has agreed to say this:Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantanamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night, Sokrates, writing sonnets, forensics, encounters with lovers, the word "idea", the feet of Jesus, and Russian thugs. The pieces are not linked. That's why I've called them "wrong".

The insights presented in the volume are many and wide-ranging, recognizably in tune with the subtlest modern discussions of desire (such as triangulation. or loving what others love), yet offering new solutions to old problems, like the proper interpretation of Plato's Phaedrus. On the frequently discussed effect of literacy on Greek civilization, the book offers a fresh view: it was no accident that the poets who invented Eros were also the first readers and writers of the Western literate tradition.Originally published in 1986.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The poetry and prose collected in Plainwater are a testament to the extraordinary imagination of Anne Carson, a writer described by Michael Ondaatje as "the most exciting poet writing in English today." Succinct and astonishingly beautiful, these pieces stretch the boundaries of language and literary form, while juxtaposing classical and modern traditions. Carson envisions a present-day interview with a seventh-century BC poet, and offers miniature lectures on topics as varied as orchids and Ovid. She imagines the muse of a fifteenth-century painter attending a phenomenology conference in Italy. She constructs verbal photographs of a series of mysterious towns, and takes us on a pilgrimage in pursuit of the elusive and intimate anthropology of water. Blending the rhythm and vivid metaphor of poetry with the discursive nature of the essay, the writings in Plainwater dazzle us with their invention and enlighten us with their erudition.

In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous "Labours of Herakles") to find he cannot adapt himself to a life of peacetime domesticity.

A NEW YORK TIMES BEST POETRY BOOK OF 2024FINALIST FOR THE NATIONAL BOOK AWARD FOR POETRYPublished here in a stunning edition with images created by Carson, several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. As Carson writes: "Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night. The pieces are not linked. That's why I've called them 'wrong.'"

La reciente Premio Princesa de Asturias 2020 de las letras, Anne Carson, presenta un poemario en el que se pregunta por el valor de la poesía y la economía lingüística.

«Rød selvbiografi» er en fortelling om det røde monsteret Geryon, skrevet i lyrisk prosa. Geryon begynner tidlig å arbeide med sin egen selvbiografi. Han vokser opp sammen med moren og broren; faren er mer eller mindre fraværende. Som tenåring møter han den litt eldre Herakles, og de innleder et kjærlighetsforhold. Flere år senere møtes de igjen i Argentina. «Rød selvbiografi» handler om å føle seg annerledes, om kampen mellom en indre og ytre virkelighet, og om å være et øyenvitne. Boka ble første gang utgitt i 1998, og tar utgangspunkt i den antikke greske poeten Stesikhoros' dikt Geryoneis.

Med Tone Hødnebøs gjendiktning av Anne Carsons debutsamling Glass, Irony and God fra 1992, introduseres en av samtidens mest spennende engelskspråklige forfattere for norske lesere. Boken inneholder blant annet "Glassessayet", kanskje forfatterskapets betydeligste dikt, hvor en meditasjon over et avsluttet kjærlighetsforhold veves sammen med en skarp analyse av Emily Brontës forfatterskap og biografi. Carsons diktning framstår som både lærd og tilgjengelig med sine ualminnelige kombinasjoner av intime bekjennelser og kjølig analyse ispedd vidd, ironi og humor.

This new comic-book version of Euripides' classic The Trojan Women follows the fates of Hekabe, Andromache and Kassandra after Troy has been sacked and all its men killed. The Trojan Women is a wildly imaginative collaboration between the visual artist Rosanna Bruno and the poet and classicist Anne Carson.

H of H Playbook is an explosion of thought, in drawings and language, about a Greek tragedy called Herakles by the 5th-century BC poet Euripides. In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous "Labors of Herakles") to find he cannot adapt himself to a life of peacetime domesticity. He goes berserk and murders his whole family. Suicide is his next idea. Amazingly, this does not happen. Due to the intervention of his friend Theseus, Herakles comes to believe he is not, after all, indelibly stained by his own crimes, nor is his life without value. It remains for the reader to judge this redemptive outcome.      "I think there is no such thing as an innocent landscape," said Anselm Kiefer, painter of forests grown tall on bones.

Here is a new comic-book version of Euripides's classic The Trojan Women, which follows the fates of Hekabe, Andromache, and Kassandra after Troy has been sacked and all its men killed. This collaboration between the visual artist Rosanna Bruno and the poet and classicist Anne Carson attempts to give a genuine representation of how human beings are affected by warfare. Therefore, all the characters take the form of animals (except Kassandra, whose mind is in another world).

Sometimes the best of friends come from the unlikeliest of places, and from deep love, one gains courage--even enough to change an entire town including the lives of two recovering alcoholics and eight at-risk, over the edge, high school seniors. But how is that possible?Ten-year-old Cody has spunk. He lives for finding his next adventure, whether it's playing basketball with the older kids or marveling the other kids with his card tricks. Cody's spirit never waivers even after he receives news of a terrible diagnosis, and the last thing he wants to be known as is the kid with cancer. But news travels fast in a small suburban town, and that's exactly what Cody becomes. That is, until he makes a new, unexpected friend. "Tomato Man," as Cody calls him, is Cody's golden ticket to being cool again. While their quirky bond grows, the tomato vendor shows Cody all kinds of things: a hip hop dance routine, fashion trends that soon catch on with the whole school, and even rides on the back of Tomato Man's impressive motorcycle!Cody's friendship with Tomato Man takes on a new dimension when Cody bravely defends his friend from the town's real estate tycoon and the two become a longed for duo, even to those in the detention center, as they make rounds on the supercharged motorcycle, spreading good will and fresh vegetables. Then, tragedy suddenly strikes! With a small town left reeling, can Cody and Tomato Man's legacy continue?"A beloved child dies of cancer. Will he be forgotten, or will his legacy help other young people build better lives, and bring hope and joy to a community? In Watch Keepers, Anne Carson has told a poignant story of love and healing. It will inspire readers of all ages, and--who knows?--perhaps encourage someone somewhere to create a watch-keepers program for his community." -Dee McRea, former Associate Editor, Associate for Reviews, Smithsonian Magazine"Watch Keepers is a beautiful blend of joy, adventure, sadness and hope. The characters have had quite an impact on me as they have inspired self-reflection as well as a sense of connection to their struggles and achievements. Watch Keepers is unique in that it is an appealing read for all ages!" -Melinda Ruppert, Licensed Clinical Professional Counselor, Mechanicsville, Maryland"As a librarian, I am often approached by parents seeking a book that will present positive role models for their children. Watch Keepers is a book that will keep young readers engaged by an interesting plot, absorbing characters and an inspiring message. Highly recommended. -Robert Gatton, Children's Librarian, Calvert County Public Library, Maryland"It is unusual to find a novel for young readers that helps them to understand themselves as individuals, family members and contributing members of the community. The Watch Keepers is a powerful antidote to the negative images that so often confront our children. The book does not flinch from presenting personal dilemmas and difficult situations, but ultimately shows the reader that it is possible to transcend difficulties through positive actions with their peers, through the guidance of compassionate adults." L. Steven Berns, LCSW-C, JD Psychotherapist, Solomons, Maryland"After reading the book, I had a new understanding of true friendship and the commitment it takes. I really enjoyed the book and found it encouraging to have such a young kid have the heart to do good for others." Cameron Barford, Ryken High School, Leonardtown, Maryland

A poetic meditation on the power of female beauty by Anne Carson.

Anne Carson writes, "Euripides was a playwright of the fifth century BC who reinvented Greek tragedy, setting it on a path that leads straight to reality TV. His plays broke all the rules, upended convention and outraged conservative critics. The Bakkhai is his most subversive play, telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration. Dionysos is the god of intoxication. Once you fall under his influence, there is no telling where you will end up."

The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose "e;economies"e; of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities. In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language. Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the "e;negative design"e; of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.

Anne Carson' s first full-length publication in Britain, Glass and God introduces an assured and challenging new voice: vivid, laconic, precise. Blending the modern and the classical, Anne Carson writes with an intensity and an integrity that is transfiguring.

The Beauty of the Husband is a work that explores these oldest of lyrical subjects - beauty, desire, love, betrayal - with freshness and devastating power. **ONE OF THE GUARDIAN'S 100 BEST BOOKS OF THE 21st CENTURY**