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Tabitha is a lonely fifty-year-old biographer who, in order to restore her self-respect and pay her rent, attempts to write two biographies simultaneously: one about an actor so famous his face is on the side of buses, and the other about a popular writer of children's books recently outed as an author of erotic fiction. Is Tabitha ready to deal with interviewing an actor so handsome and charismatic she thinks he should be bottled and sprayed on belligerent people as a form of crowd control? Can she form a genuine friendship with a cult novelist who pressures her to compromise her values? While facing these and other challenges, Tabitha is bedeviled by memories of her long-ago divorce and the terrible wedding when, accidently bumped on a balcony, she shot off into the shrubbery. Is it true, she wonders, that there's probably a dead body beneath the floating rot of any marriage? When surrounded by pretentious beautiful people does it help to imagine their intestines are full of worms? Are champagne bubbles the devil's air pockets? Is it ever too late to change your life-from the bottom up?
Whether crisp and understated or capacious and kinetic, the poems in Lee Upton's seventh collection are lyrically dexterous and reverberant. Shrewd, formally ambitious, excavating cultural myths and contradictions, these poems allow the ordinary and the supernatural to inhabit one another. The poems are often attentive to suffering: torture as it persists through centuries, the extinction of species, and the agonies of illness, grief, and the blasting of innocence are meditated upon. At the same time, in this book of mysteries, the cultivation of the redemptive energy of wit, in favor of the sensual and tender, performs as a means to resist violence.
Chilling, funny, devastating: Upton's characters backtrack into the past, then make their way forward with humiliation as their guide.
In this latest collection from Lee Upton, characters navigate often bewildering situations, from the homeschooled girl trying to communicate telepathically with an injured man she finds on the beach to the experimental theater troupe (called the Community Playas) composed primarily of actors the story's narrator has wronged or been wronged by.
In this collection of poems, Lee Upton extends upon and deepens her experiments with perception and language. They contain multiple figurations such as a Dante-inspired guide and a Da Vinci cartoon, Hamlet's Gertrude and Lewis Carroll's Alice.
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