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Deborah Levy

Things I Don't Want to Know

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A shimmering jewel of a book about writing from two-time Booker Prize finalist Deborah Levy, to publish alongside her new work of nonfiction, The Cost of Living.

Blending personal history, gender politics, philosophy, and literary theory into a luminescent treatise on writing, love, and loss, Things I Don't Want to Know is Deborah Levy's witty response to George Orwell's influential essay “Why I Write.” Orwell identified four reasons he was driven to hammer at his typewriter--political purpose, historical impulse, sheer egoism, and aesthetic enthusiasm--and Levy's newest work riffs on these same commitments from a female writer's perspective.
As she struggles to balance womanhood, motherhood, and her writing career, Levy identifies some of the real-life experiences that have shaped her novels, including her family's emigration from South Africa in the era of apartheid; her teenage years in the UK where she played at being a writer in the company of builders and bus drivers in cheap diners; and her theater-writing days touring Poland in the midst of Eastern Europe's economic crisis, where she observed how a soldier tenderly kissed the women in his life goodbye.
Spanning continents (Africa and Europe) and decades (we meet the writer at seven, fifteen, and fifty), Things I Don't Want to Know brings the reader into a writer's heart.
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105 páginas impresas
Año de publicación
2014
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  • Alexandra Appelbergcompartió una citahace 6 años
    Adrienne Rich, who I was reading at the time, said it exactly like it is: ‘No woman is really an insider in the institutions fathered by masculine consciousness.’ That was the weird thing. It was becoming clear to me that Motherhood was an institution fathered by masculine consciousness.
  • Alexandra Appelbergcompartió una citahace 6 años
    It was to do with not feeling safe with people who were supposed to be safe. The clue was that even though Mr Sinclair was white and a grown-up and had his name written in gold letters on the door of his office, I was definitely less safe with him than I was with the black children I had been spying on in the playground. The second clue was that the white children were secretly scared of the black children. They were scared because they threw stones and did other mean things to the black children. White people were afraid of black people because they had done bad things to them. If you do bad things to people, you do not feel safe. And if you do not feel safe, you do not feel normal. The white people were not normal in South Africa. I had heard all about the Sharpeville Massacre that happened a year after I was born and how the white police shot down the black children and women and men and how it rained afterwards and the rain washed the blood away. By the time Mr Sinclair said, ‘Go back to your class room,’ he was panting and sweating and I could tell he did not feel normal.
  • Alexandra Appelbergcompartió una citahace 6 años
    Anyway, it would have been such a long answer; something like this: ‘When a female writer walks a female character in to the centre of her literary enquiry (or a forest) and this character starts to project shadow and light all over the place, she will have to find a language that is in part to do with learning how to become a subject rather than a delusion, and in part to do with unknotting the ways in which she has been put together by the societal system in the first place. She will have to be canny how she sets about doing this because she will have many delusions of her own. In fact it would be best if she was uncanny when she sets about doing this. It’s exhausting to learn how to become a subject, it’s hard enough learning how to become a writer.’

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