i diferències de la dona en el món actual. Els punts de vista de Siri Hustedt parteixen
d’un coneixement i una refl exió profunds.
Un assaig sobre feminisme, art i ciència que aborda qüestions diverses: com s’ha vist
condicionat l’art d’algunes escriptores o artistes plàstiques per un entorn masculí; la no
competència homes-dones; tot plegat amb una afi nadíssima intel·ligència. Per aquests
assajos desfi len Almodovar, Louise Bourgeois, Keifer, Sontag o la mateixa Siri en tant que
escriptora i dona de Paul Auster.
"Aquesta obra ha rebut un ajut a l'edició del Ministerio de Educación, Cultura y Deporte"
While speaking at a memorial event for her father in 2006, Siri Hustvedt suffered a violent seizure from the neck down. Despite her flapping arms and shaking legs, she continued to speak clearly and was able to finish her speech. It was as if she had suddenly become two people: a calm orator and a shuddering wreck. Then the seizures happened again and again.
The Shaking Woman tracks Hustvedt's search for a diagnosis, one that takes her inside the thought processes of several scientific disciplines, each one of which offers a distinct perspective on her paroxysms but no ready solution. In the process, she finds herself entangled in fundamental questions: What is the relationship between brain and mind? How do we remember? What is the self?
During her investigations, Hustvedt joins a discussion group in which neurologists, psychiatrists, psychoanalysts, and brain scientists trade ideas to develop a new field: neuropsychoanalysis. She volunteers as a writing teacher for psychiatric in-patients at the Payne Whitney clinic in New York City and unearths precedents in medical history that illuminate the origins of and shifts in our theories about the mind-body problem.
In The Shaking Woman, Hustvedt synthesizes her experience and research into a compelling mystery: Who is the shaking woman? In the end, the story she tells becomes, in the words of George Makari, author of Revolution in Mind, "a brilliant illumination for us all."
Siri Hustvedt's What I Loved begins in New York in 1975, when art historian Leo Hertzberg discovers an extraordinary painting by an unknown artist in a SoHo gallery. He buys the work; tracks down the artist, Bill Wechsler; and the two men embark on a life-long friendship.
Leo's story, which spans twenty-five years, follows the evolution of the growing involvement between his family and Bill's-an intricate constellation of attachments that includes the two men; their wives, Erica and Violet; and their children, Matthew and Mark. The families live in the same building in New York, share a house in Vermont during the summer, keep up a lively exchange of thoughts and ideas, and find themselves permanently altered by one another. Over the years, they not only enjoy love but endure loss-in one case sudden, incapacitating loss; in another, a different kind, one that is hidden and slow-growing, and which insidiously erodes the fabric of their lives.
Intimate in tone and seductive in its complexity, the novel moves seamlessly from inner worlds to outer worlds, from the deeply private to the public, from physical infirmity to cultural illness. Part family novel, part psychological thriller, What I Loved is a beautifully written exploration of love, loss, and betrayal-and of a man's attempt to make sense of the world and go on living.
inquietants d’una estudiant de literatura de la Universitat de Columbia, Iris Vegan, amb diversos
personatges novaiorquesos que l’atzar ha posat en el seu camí. Quatre episodis en què Siri Hustvedt
reflexiona sobre els misteris de la identitat, sobre la irracionalitat i el perill que comporten les relacions.
I romanen lader forfatteren sit emne med gennemtrængende seksualitet og dramatiserer den kvindelige psyke, der er fanget i magt og underkastelse.
"... en af de romaner, der er i stand til at skabe en oplevelse, så man læser videre og videre, som om man selv var blindet og opsugede fiktionens mærkelige stof med noget andet end øjnene ... Romanen bryder fortællingens kronologi op i fire forløb, som bestandig borer videre i byens og romanens rummelige tema om forholdet mellem fiktion og virkelighed, så man også sidder med fire fantastiske fortællinger, der er fulde af urovækkende gåder, der fører til afbrydelser og huller i forløbet."
- Jette Lundbo Levy, Information
"Allerede i sin debutroman – her oversat af Jan Bredsdorff med fint mærkende fornemmelse
for hendes sprogs mange nuancer – har Hustvedt placeret sig med både sproglig styrke og særpræget fortælleevne blandt yngre amerikanske forfattere."
- Jakob Levinsen, Berlingske Tidende
"Hvad Hustvedt frem for alt har i sin palet, er en erotisk dybdevirkning, snart faretruende og mørk med gnidrede skygger af dominans og underkastelse, snart gyldent fejrende sig selv som ren og skær livskraft midt i New York."
- Bo Green Jensen, Weekendavisen
Samlingen bærer præg af den karakterisktiske personlige grundtone, man finder i alt, hvad Siri Hustvedt skriver og teksterne er båret af hendes lidenskab for kunst, humaiora og videnskab.
Mia Fredrickson, the wry, vituperative, tragic comic, poet narrator of The Summer Without Men, has been forced to reexamine her own life. One day, out of the blue, after thirty years of marriage, Mia's husband, a renowned neuroscientist, asks her for a "pause." This abrupt request sends her reeling and lands her in a psychiatric ward. The June following Mia's release from the hospital, she returns to the prairie town of her childhood, where her mother lives in an old people's home. Alone in a rented house, she rages and fumes and bemoans her sorry fate. Slowly, however, she is drawn into the lives of those around her—her mother and her close friends,"the Five Swans," and her young neighbor with two small children and a loud angry husband—and the adolescent girls in her poetry workshop whose scheming and petty cruelty carry a threat all their own.
From the internationally bestselling author of What I Loved comes Siri Hustvedt's provocative, witty, and revelatory novel about women and girls, love and marriage, and the age-old question of sameness and difference between the sexes.
The three solo shows are successful, but when Burden finally steps forward triumphantly to reveal herself as the artist behind the exhibitions, there are critics who doubt her. The public scandal turns on the final exhibition, initially shown as the work of acclaimed artist Rune, who denies Burden's role in its creation. What no one doubts, however, is that the two artists were intensely involved with each other. As Burden's journals reveal, she and Rune found themselves locked in a charged and dangerous game that ended with the man's bizarre death.
Ingeniously presented as a collection of texts compiled after Burden's death, "The Blazing World" unfolds from multiple perspectives. The exuberant Burden speaks--in all her joy and fury--through extracts from her own notebooks, while critics, fans, family members, and others offer their own conflicting opinions of who she was, and where the truth lies.
From one of the most ambitious and interna-tionally renowned writers of her generation, "The Blazing World" is a polyphonic tour de force. An intricately conceived, diabolical puzzle, it explores the deceptive powers of prejudice, money, fame, and desire. Emotionally intense, intellectually rigorous, ironic, and playful, Hustvedt's new novel is a bold, rich masterpiece, one that will be remembered for years to come.