Bøger af Deborah Levy

'Unmissable. Like chancing upon an oasis, you want to drink it slowly... Subtle, unpredictable, surprising' GuardianThings I Don't Want to Know is the first in Deborah Levy's essential three-part 'Living Autobiography' on writing and womanhood.Taking George Orwell's famous essay, 'Why I Write', as a jumping-off point, Deborah Levy offers her own indispensable reflections of the writing life. With wit, clarity and calm brilliance, she considers how the writer must stake claim to that contested territory as a young woman and shape it to her need. Things I Don't Want to Know is a work of dazzling insight and deep psychological succour, from one of our most vital contemporary writers.'Superb sharpness and originality of imagination. An inspiring work of writing' Marina Warner

Genrebrydende erindringstrilogi om at skrive og finde sin plads i verden. Deborah Levy befinder sig i en livskrise. Hun er begyndt at græde, hver gang hun står på en rulletrappe og beslutter sig for at rejse til Mallorca for at komme lidt væk. Fra den vinterkolde ferieø tænker hun tilbage på sit liv. På barndommen i Sydafrika under apartheid, hvor hendes far bliver fængslet for sin støtte til ANC. På ungdomslivet i England, hvor forfatterdrømmen begynder at spire. Og på hvordan man som kvinde er nødt til at finde sin stemme, tale højt og kræve sin plads i verden. TING JEG IKKE VIL VIDE er et feministisk modsvar til George Orwells berømte essay WHY I WRITE fra 1946 og er første del af Deborah Levys prisbelønnede erindringstrilogi, hvor hun med udgangspunkt i sin egen historie og sit liv i 40’erne, 50’erne og 60’erne reflekterer indsigtsfuldt og levende over fortid og nutid, kvinderoller, familie, politik, litteratur, kærlighed og venskab. Trilogien blev et internationalt fænomen, rost for sin elegante, genrebrydende stil og kaldt for en moderne coming-of-middle-age. Selv kalder hun den for ’A Living Autobiography’, en ’levende selvbiografi’, skrevet mens livet raser omkring hende og ikke i eftertankens klare lys.

Prisbelønnet trilogi om at skrive og om at finde sin plads i verden. I andet bind af sit anmelderroste erindringsværk undersøger Deborah Levy, hvad det vil sige at være fri – som kunstner, som kvinde, mor og datter. Levy er nu i 50’erne, og hendes liv er i opbrud. Ægteskabet er gået i stykker, moren er ved at dø, og døtrene er på vej ud i verden. Selv leder Levy desperat efter et sted at skrive og finder det til sidst – i et redskabsskur under et æbletræ i en venindes have. Med ubesværet elegance bevæger Deborah Levy sig mellem fortid og nutid, mellem små hverdagssituationer og skarpe litterære iagttagelser, og resultatet er et sprudlende portræt af en skrivende kvindes liv, fuld af vid, dybde og menneskelig indsigt. Trilogien blev et internationalt fænomen, rost for sin elegante, genrebrydende stil, også af danske anmeldere, og er blevet kaldt for en moderne coming-of-middle-age. Selv kalder Levy den for en ’levende selvbiografi’, skrevet mens livet raser omkring hende og ikke i eftertankens klare lys. Deborah Levy (f. 1959 i Sydafrika) er prisbelønnet forfatter, digter og dramatiker. Hun romandebuterede i 1989 og har siden udgivet en lang række romaner, novellesamlinger, digtsamlinger og skuespil. Hun har to gange været shortlistet til den prestigefulde Bookerpris for sine romaner Swimming Home (2013) og Hot Milk (2016). Hun har modtaget flere priser for sin trilogi, bl.a. den fornemme Prix Femina.

2012 Man Booker Prize shortlisted. As he arrives with his family at the villa, Joe sees a body in the swimming pool. But the girl is alive. She is Kitty Finch: a self-proclaimed botanist with green-painted fingernails, walking naked into the heart of their holiday. Why is she there? And why does Joe's enigmatic wife allow her to remain?

SHORTLISTED FOR THE MAN BOOKER PRIZE 2016 SHORTLISTED FOR THE GOLDSMITHS PRIZE 2016Plunge into this hypnotic tale of female sexuality and power - from the Man Booker shortlisted author of Swimming Home'Propulsive, uncanny, dreamlike. A feverish coming-of-age novel' Daily Telegraph'A triumph of storytelling' Literary Review'Today I dropped my laptop on the concrete floor of a bar built on the beach. My laptop has all my life in it and knows more about me than anyone else. So what I am saying is that if it is broken, so am I . . .''Perfectly crafted. So mesmerising that reading it is to be under a spell' Independent on Sunday'Hot Milk treads a sweaty, sun-drenched path into the history books. A properly great novel' Romola Garai'Hot Milk is an extraordinary novel, beautifully rich, vividly atmospheric and psychologically complex... Every man and woman should read it' Bernardine Evaristo'The contemporary writer I admire most' Linda Grant 'Hypnotic... This novel has a transfixing gaze and a terrible sting that burns long after the final page is turned' Observer'Gorgeous. What makes the book so good is Levy's great imagination, the poetry of her language, her way of finding the wonder in the everyday. It's a pleasure' New York Times'Terrific, sizzling with heat and sexuality . . . You devour it in one sitting' Radio Times'Unmissable' New Statesman

Tredje bind af Deborah Levys enestående og prisbelønnede erindringsværk. Deborah Levy nærmer sig tres, børnene er fløjet fra reden, og skilsmissen ligger bag hende. Hun bruger sin nyvundne frihed til at forlade sin faldefærdige lejlighed i London og rejse ud i verden. Til New York for at rydde sin afdøde stedmors lejlighed, til litteraturfestival i Mumbai, på skriveophold i Paris og rejser til Berlin og Grækenland. Imens drømmer hun om sit næste hjem - et prægtigt gammelt hus med svungne trapper, hvælvede lofter og et granatæbletræ i have - og funderer skarpt og fuld af humor over alle de forestillinger, vi knytter til ideen om et hjem, over vores forståelse af ejendom og besiddelser, og vores måde at opgøre værdien af en kvindes intellektuelle og personlige liv. Trilogien blev et internationalt fænomen, rost for sin elegante, genrebrydende stil og kaldt for en moderne coming-of-middle-age. Selv kalder Levy den for en ’levende selvbiografi’, skrevet mens livet raser omkring hende og ikke i eftertankens klare lys.

Augustblå er et blændende portræt af melankoli og metamorfose og en virtuos fortælling om en kvinde, der er nødt til at forsvinde for at kunne fortælle sin egen historie. På højden af sin karriere forlader koncertpianisten Elsa M. Anderson scenen midt under en koncert i Wien. Tre uger senere sidder hun i Athen og betragter en ung kvinde i færd med at købe et par mekaniske, dansende heste. Kvinden ligner i uhyggelig grad hende selv, er nærmest hendes dobbeltgænger. Elsa følger efter kvinden, men mister hende af syne og driver i stedet ned til færgehavnen. Da hun rejser videre gennem Europa, på flugt fra sin historie og sit talent, er det med skyggen af den mystiske kvinde som følgesvend.

I Skeens placering inviterer Deborah Levy læseren inden for i sit private bibliotek. Gennem bøger, breve, erindringer og nedslag i eget liv fortæller hun om de forfattere og kunstnere, der har formet hende og gjort hende til den, hun er. Deborah Levy skriver veloplagt om Marguerite Duras, Colette, Ballard og Barthes. Hun tager os med på café i Wien og betragter gæsterne gennem Freuds briller. Hun ser på kunstværker og kunstnere som Méret Oppenheim, Lee Miller og Francesca Woodman. Levy skriver poetisk, klogt, varmt og nogle gange surrealistisk, men altid med et skarpt og kærligt øje for detaljer. For hvad hvis det faktisk betyder noget, hvilken vej skeen vender, mod det kogte æg eller væk fra det? Hvad afslører sokker og sko om dem, der bærer dem? Hvis det faktisk betyder noget, hvem og hvad vi er opmærksomme på. Skeens placering er en indirekte selvbiografi med klare referencer til erindringstrilogien.

From twice Booker-shortlisted author Deborah Levy, a moving and revelatory collection exploring the muses that have shaped her life and work as a writerIn The Position of Spoons, Deborah Levy invites the reader into the interiors of her world, sharing her most intimate thoughts and experiences, as she traces and measures her life against the backdrop of the literary and artistic muses that have shaped her.From Marguerite Duras to Colette and Ballard, and from Lee Miller to Francesca Woodman and Paula Rego, we can relish here the richness of their work and, in turn the richness of the author's own.Each page draws upon Levy's life in exalting ways, encapsulating the wonderful precision and astonishing depth of her writing, as she seamlessly shifts between and meditates on questions of mortality, language, suburbia, gender, consumerism and the poetics of every day living. From the child born in South Africa, to her teenage years in Britain, to her travels across the world as a young woman, each page is a beautiful, tender composition of the questioning self: a portrait of Deborah Levy's writing life and intellectual vitality in all of its dimensions.

"Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of 'curating as practice'. Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine."--

A new novel from the Booker Prize finalist Deborah Levy, the celebrated author of The Man Who Saw Everything and The Cost of Living.At the height of her career, the piano virtuoso Elsa M. Anderson-former child prodigy, now in her thirties-walks off the stage in Vienna, midperformance.Now she is in Athens, watching an uncannily familiar woman purchase a pair of mechanical dancing horses at a flea market. Elsa wants the horses too, but there are no more for sale. She drifts to the ferry port, on the run from her talent and her history.So begins her journey across Europe, shadowed by the elusive woman who seems to be her double. A dazzling portrait of melancholy and metamorphosis, Deborah Levy's August Blue uncovers the ways in which we attempt to revise our oldest stories and make ourselves anew.

In this brilliant, inventive, tragic farce, Deborah Levy creates the ultimate dysfunctional kids, Billy and his sister Girl. Apparently abandoned years ago by their parents, they now live alone somewhere in England. Girl spends much of her time trying to find their mother, going to strangers' doors and addressing whatever Prozac woman who answers as "Mom." Billy spends his time fantasizing a future in which he will be famous, perhaps in the United States as a movie star, or as a psychiatrist, or as a doctor to blondes with breast enlargements, or as the author of "Billy England's Book of Pain." Together they both support and torture each other, barely able to remember their pasts but intent on forging a future that will bring them happiness and reunite them with the ever-elusive Mom. Billy and Girl are every boy and girl reeling from the pain of their childhoods, forgetting what they need to forget, inventing worlds they think will be better, but usually just prolonging nightmares as they begin to create--or so it seems--alternative personalities that will allow them to survive and conquer and punish. In the end, the reader is as bewildered as Billy and Girl--have they found Mom and a semblance of family, or are, they completely out of control and ready to explode?

Primera parte de la «autobiografía en construcción» de Deborah Levy, un relato de la feminidad como libertad y no como castigo.Deborah Levy arranca estas memorias recordando la etapa de su vida en que rompía a llorar cuando subía unas escaleras mecánicas. Ese movimiento inocuo la llevaba a rincones de su memoria a los que no quería volver. Son esos recuerdos los que forman Cosas que no quiero saber, el inicio de su «autobiografía en construcción».Esta primera parte de lo que será un tríptico sobre la condición de ser mujer nace como respuesta al ensayo «Por qué escribo», de George Orwell. Sin embargo, Levy no viene a dar respuestas. Viene a abrir interrogantes que deja flotando en una atmósfera formada por toda la fuerza poética de su escritura. Su magia no es otra que la de las conexiones impredecibles de la memoria: el primer mordisco a un albaricoque la traslada a la salida de sus hijos de la escuela, observando a las otras madres, «jóvenes convertidas en sombras de lo que habían sido»; el llanto de una mujer le devuelve la nieve cayendo sobre su padre en el Johannesburgo del apartheid, poco antes de ser encarcelado; el olor del curry la lleva a su adolescencia en Londres, escribiendo en servilletas de bares y soñando con una habitación propia.Leer a Levy es querer entrar en sus recuerdos y dejarse llevar por la calma y el aplomo de quien ha aprendido todo lo que sabe (y todo lo que no querría saber) a fuerza de buscar su propia voz.«Imprescindible. Leerla es como encontrar un oasis.» - The Guardian«El punto fuerte de Levy es su originalidad de pensamiento y expresión.» - Jeanette Winterson«Una narración vivaz y brillante sobre cómo los detalles más inocentes de la vida personal de una escritora pueden alcanzar el poder en la ficción.» - The New York Times Book ReviewENGLISH DESCRIPTIONA 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.

The relationship between sleep and storytelling is an ancient one. For centuries, sleep has provided writers with a magical ingredient a passage of time during which great changes miraculously occur, an Orpheus-like voyage through the subconscious daubed with the fantastic. But over the last ten years, our scientific understanding of sleep has been revolutionised. No longer is sleep viewed as a time of simple rest and recuperation. Instead, it is proving to be an intensely dynamic period of brain activity: a vital stage in the re-wiring of memories, the learning of new skills, and the processing of problems and emotions. How will storytelling respond to this new and emerging science of sleep? Here, 14 authors have been invited to work with key scientists to explore various aspects of sleep research: from the possibilities of sleep engineering and overnight therapies , to future-tech ways of harnessing sleep s problem-solving powers, to the challenges posed by our increasingly 24-hour lifestyles. Just as new hypotheses are being put forward, old hunches are also being confirmed (there s now a scientific basis for the time-worn advice to sleep on a problem ). As these responses show, sleep and the spinning of stories are still very much entwined. This project was supported by the Wellcome Trust.

Sofia und ihre Mutter Rose fahren nach Andalusien, wo Rose in der Spezialklinik von Dr. Gomez behandelt werden soll, da ihre Beine ihr den Dienst versagen. Doch ist das Leiden der Mutter wirklich physischer Natur oder versucht sie, ihre Tochter eng an sich zu binden? Sofia, deren griechischer Vater die Familie vor Jahren verließ, versucht zu ergründen, woran ihre Mutter erkrankt ist und wo sie selbst steht. Beim Schwimmen im Meer, das voller Quallen ist, in Gesprächen mit Dr. Gomez oder dessen Tochter wird ihr immer klarer, dass sie sich von ihrer Mutter befreien muss. Als sie die selbstbewusste und unkonventionelle Deutsche Ingrid kennenlernt, trifft Sofia Entscheidungen. Ein Roman über eine allzu enge Mutter-Tochter-Beziehung und die Suche nach Identität, die wie ein Quallenbiss brennt und noch lange nachwirkt. Deborah Levy wurde für diesen Roman mehrfach ausgezeichnet und stand auf der Shortlist des Man Booker Prize. Svenja Pages ist mit ihrer frischen Stimme die richtige Sprecherin für die ungekürzte Lesung dies tragikomischen Geschichte.Deborah Levy wurde 1959 in Südafrika geboren. 1968 emigrierte die Familie nach Großbritannien. Sie verfasst neben einer großen Anzahl von Theaterstücken und Beiträgen für Radio und Fernsehen Erzählungen und Romane. Die Romane »Heim schwimmen« und »Heiße Milch« kamen auf die Shortlist des Man Booker Prize.

Selected for the 2012 Man Booker Prize short list. "Levy manipulates light and shadow with artfulness. She transfixes the reader: we recognize...the thing of darkness in us all. This is an intelligent, pulsating literary beast." --The Telegraph (UK)As he arrives with his family at the villa in the hills above Nice, Joe sees a body in the swimming pool. But the girl is very much alive. She is Kitty Finch: a self-proclaimed botanist with green-painted fingernails, walking naked out of the water and into the heart of their holiday. Why is she there? What does she want from them all? And why does Joe's enigmatic wife allow her to remain?A subversively brilliant study of love, Swimming Home reveals how the most devastating secrets are the ones we keep from ourselves.

A hypnotising summer novel from the twice Man Booker-shortlisted author of Hot Milk and Swimming HomeA group of hedonistic West European tourists gather to celebrate Christmas in a remote French chateau. Then an Englishwoman is brutally murdered, and the sad, eerie child Tatiana declares she knows who did it. The subsequent inquiry into the death proves to be more of an investigation into the nature of love, insatiable rage and sadistic desire. The Unloved offers a bold and revealing look at some of the events that shaped European and African history, and the perils of a future founded on concealed truth.

Swallowing Geography is a stunning early novel by the Man Booker-shortlisted Deborah Levy. Embedded in this beautifully written novel is Deborah Levy's gift for blending fairytale with biting satire. Through the voice of the irreverent and ironic narrator J.K., Swallowing Geography interrogates the yearning of discontented children, imagined homes and strangers and histories at the turbulent close of the 20th century.'A stunningly original writer' Kirsty Gunn'One of the few British writers comfortable on a world stage' New Statesman'Levy's strength is her originality of thought and expression' Jeanette WintersonDeborah Levy writes fiction, plays and poetry. Her work has been staged by the Royal Shakespeare Company, and she is the author of highly praised books including The Unloved, Things I Don't Want to Know, Beautiful Mutants and Billy and Girl. Her novel Swimming Home was shortlisted for the 2012 Man Booker Prize, 2012 Specsavers National Book Awards (UK Author of the Year) and 2013 Jewish Quarterly Wingate Prize, while the title story of her most recent work of fiction, Black Vodka, was shortlisted for the 2012 BBC International Short Story Award.

This anthology contains six of Levy's plays: "Pax"; "Clam"; "The B File"; "Pushing the Prince into Denmark"; Macbeth - False Memories"; and "Honey Baby".

Unforgettable, off-kilter graphic fiction from Booker-shortlisted novelist Deborah Levy