Winner of the 2014 LA Times Book Prize for Fiction
Finalist for the 2014 Kirkus Prize
Hailed by The Washington Post as “Siri Hustvedt’s best novel yet, an electrifying work,” The Blazing World is a masterful novel about perception, prejudice, desire, and one woman’s struggle to be seen.
In a new novel called “searingly fresh... A Nabokovian cat’s cradle” on the cover of The New York Times Book Review, the internationally bestselling author tells the provocative story of artist Harriet Burden, who, after years of having her work ignored, ignites an explosive scandal in New York’s art world when she recruits three young men to present her creations as their own. Yet when the shows succeed and Burden steps forward for her triumphant reveal, she is betrayed by the third man, Rune. Many critics side with him, and Burden and Rune find themselves in a charged and dangerous game, one that ends in his bizarre death.
An intricately conceived, diabolical puzzle presented as a collection of texts, including Harriet’s journals, assembled after her death, this “glorious mashup of storytelling and scholarship” (San Francisco Chronicle) unfolds from multiple perspectives as Harriet’s critics, fans, family, and others offer their own conflicting opinions of where the truth lies. Writing in Slate, Katie Roiphe declared it “a spectacularly good read...feminism in the tradition of Simone de Beauvoir’s The Second Sex or Virginia Woolf’s A Room of One’s Own: richly complex, densely psychological, dazzlingly nuanced.”
“Astonishing, harrowing, and utterly, completely engrossing” (NPR), Hustvedt’s new novel is “Blazing indeed:...with agonizing compassion for all of wounded humanity”(Kirkus Reviews, starred review). It is a masterpiece that will be remembered for years to come.
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.
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.
When Erik Davidsen and his sister, Inga, find a disturbing note from an unknown woman among their dead father's papers, they believe he may be implicated in a mysterious death. Siri Hustvedt's The Sorrows of an American tells the story of the Davidsen family as brother and sister uncover its secrets and unbandage its wounds in the year following their father's funeral.
Returning to New York from Minnesota, the grieving siblings continue to pursue the mystery behind the note. While Erik's fascination with his new tenants and emotional vulnerability to his psychiatric patients threaten to overwhelm him, Inga is confronted by a hostile journalist who seems to know a secret connected to her dead husband, a famous novelist. As each new mystery unfolds, Erik begins to inhabit his emotionally hidden father's history and to glimpse how his impoverished childhood, the Depression, and the war shaped his relationship with his children, while Inga must confront the reality of her husband's double life.
A novel about fathers and children, listening and deafness, recognition and blindness; the pain of speaking and the pain of keeping silent, the ambiguities of memory, loneliness, illness, and recovery. Siri Hustvedt's exquisitely moving prose reveals one family's hidden sorrows through an extraordinary mosaic of secrets and stories that reflect the fragmented nature of identity itself.
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."
In a trilogy of works brought together in a single volume, Siri Hustvedt demonstrates the striking range and depth of her knowledge in both the humanities and the sciences. Armed with passionate curiosity, a sense of humor, and insights from many disciplines she repeatedly upends received ideas and cultural truisms.
“A Woman Looking at Men Looking at Women” (which provided the title of this book) examines particular artworks but also human perception itself, including the biases that influence how we judge art, literature, and the world. Picasso, de Kooning, Louise Bourgeois, Anselm Kiefer, Susan Sontag, Robert Mapplethorpe, and Karl Ove Knausgaard all come under Hustvedt’s intense scrutiny. “The Delusions of Certainty” exposes how the age-old, unresolved mind-body problem has shaped and often distorted and confused contemporary thought in neuroscience, psychiatry, genetics, artificial intelligence, and evolutionary psychology. “What Are We? Lectures on the Human Condition” includes a powerful reading of Kierkegaard, a trenchant analysis of suicide, and penetrating reflections on the mysteries of hysteria, synesthesia, memory and space, and the philosophical dilemmas of fiction.
A Woman Looking at Men Looking at Women is an “erudite” (Booklist), “wide-ranging, irreverent, and absorbing meditation on thinking, knowing, and being” (Kirkus Reviews, starred review).
Whether her subject is growing up in Minnesota, cross-dressing, or the novel, Hustvedt's nonfiction, like her fiction, defies easy categorization, elegantly combining intellect, emotion, wit, and passion. With a light touch and consummate clarity, she undresses the cultural prejudices that veil both literature and life and explores the multiple personalities that inevitably inhabit a writer's mind. Is it possible for a woman in the twentieth century to endorse the corset, and at the same time approach with authority what it is like to be a man? Hustvedt does. Writing with rigorous honesty about her own divided self, and how this has shaped her as a writer, she also approaches the works of others--Fitzgerald, Dickens, and Henry James--with revelatory insight, and a practitioner's understanding of their art.
Iris Vegan, a young, impoverished graduate student from the Midwest, finds herself entangled with four powerful but threatening characters as she tries to adjust to life in New York City. Mr. Morning, an inscrutable urban recluse, employs Iris to tape-record verbal descriptions of objects that belonged to a murder victim. George, a photographer, takes an eerie portrait of Iris, which then acquires a strong life of its own, appearing and disappearing without warning around the city. After a series of blinding migraines, Iris ends up in a hospital room with Mrs. O., a woman who has lost her mind and memory to a stroke, but who nevertheless retains both the strength and energy to torment her fellow patient. And finally, there is Professor Rose, Iris’s teacher and eventually her lover. While working with him on the translation of a German novella called The Brutal Boy, she discovers in its protagonist, Klaus, a vehicle for her own transformation and ventures out into the city again—this time dressed as a man.
The book is divided into three sections: the essays in Living draw directly from Hustvedt's life; those in Thinking explore memory, emotion, and the imagination; and the pieces in Looking are about visual art. And yet, the same questions recur throughout the collection. How do we see, remember, and feel? How do we interact with other people? What does it mean to sleep, dream, and speak? What is "the self"? Hustvedt's unique synthesis of knowledge from many fields reinvigorates the much-needed dialogue between the humanities and the sciences as it deepens our understanding of an age-old riddle: What does it mean to be human?
Weaving a fascinating spell of mystery and suspense, Hustvedt recounts the erotic adventures, unexpected friendships, and inexplicable acts of madness that usher Lily into womanhood. By skillfully mixing reality and dreams, fact and fiction, past and present, Hustvedt creates a powerful world not quite real, but altogether truthful.
Incapable de supporter plus longtemps la liaison que son mari entretient avec une femme plus jeune qu'elle, Mia quitte brusquement New York pour se rendre dans le Minnesota et se réfugier quelque temps auprès de sa mère octogénaire.
Parcours d'une femme blessée en forme de "lecture de soi" et d'inattendue épiphanie personnelle, ce roman solaire – féministe au meilleur sens du terme – irradie d'une énergie aussi rebelle que stimulante.
©2011 Actes Sud (P)