La mia idea di passeggiata perfezionata nei corso di questi ultimi otto anni
vissuti a New York
implica un flusso di pensieri a ruota libera . . .
Camminare è molto simile a scrivere Sebbene siano quasi sempre attività solitarie entrambe . . .
sono alimentate dal desiderio di mettersi in relazione con gli altri
New York 18 agosto 1974
MANTOVA Per me una delle cose divertenti è questa città all’interno della
Quando ci cammini dentro è come camminare attraverso il tempo …
chiunque sia cresciuto amando Italo
Calvino ha un’idea dell’Italia come di
magica, una città che qualcuno ha inventato ed è strana, e questo le
somiglia un po’, una città all’interno di questa, come una città segreta.
… è incredibile camminare qui e vedere come queste strade sono consumate,
vedi quanta gente ha camminato qui, e pensi che Isabella d’Este era qui,
suggerisce aspetti differenti dell’anima
uno è quello dove l’umanità non c’è
e l’altro è dove c’è
festival letteratura mantova 2008
ospite anche nel 2018
how do you like to read? paper or electronic?
one book at a time or several simultaneously? morning or night? Whenever there is time, and now that my
children are 11 and 8, time is slowly returning to me.
The windows in my bedroom face east and have no curtains, and to wake up
into that light and a book is joy as I know it.
I read many books at once, all of them
paper. I think the book
must be the most perfect object ever designed by humans.
Their physical beauty and how well they work - dayenu ! -
but then there is the way they often absorb their reader’s presence,
too. Tea, ink, greasy fingers, receipts,
weather, but more than that, something of the spirit, too, so that years
later you can take the book down off the shelf and a flash of your old
self leaps out at you. I won’t easily give
that up .
nytimes.com - 2017
le migliori scrittrici contemporanee
è nata nel 1974 a
New York, dove vive. Dopo la laurea a Stanford e gli studi al Courtauld
Institute of Art di Londra, è stata finalista allo Yale Younger Poet's
Prize e le sue poesie sono apparse in riviste come la Paris Review e
Doubltake. Dopo aver completato i suoi studi a Oxford si è dedicata alla
narrativa. Ha lavorato per la radio e ha pubblicato racconti su diverse
riviste americane, tra cui The New Yorker, Esquire, Harper's, Best
American Short Stories. Il suo primo ROMANZo Man Walks into a Room (Un
uomo sulla soglia) pubblicato nel 2002 è stato selezionato per il Los
Angeles Times Book Award. Ma è con La storia dell’amore, pubblicato nel
2005, che Nicole Krauss ha raggiunto la consacrazione internazionale.
Selezionato tra l’altro per l’Orange Prize, sono già stati
acquistati i diritti cinematografici dalla Warner Brothers. Il film,
diretto da Alfondo Cuaron, ESCE nelle sale DAL 2009. nella foto con l'ex marito
- LO SCRITTORE Jonathan Safran Foer
festivaletteratura.it - dweb.repubblica.it -
domist.ne - http://fr.wikipedia.org/wiki/Nicole_Krauss
- https://it.wikipedia.org/wiki/Nicole_Krauss facebook
How have you found the transition from poetry to fiction? For a long time I only wanted to write poetry. But it's hard
- a hard
life, I mean. There's that thing Auden said, about how a poet only
believes himself to be a poet at the moment when he is making his last
revision to a new poem. "The moment before, he was still only a
potential poet: the moment after he is a man who has ceased to write
poetry, perhaps forever." With a novel it's somehow easier: the duration
of the writing is so much longer, and the unhappiness of the in-between
less frequent. I had been working on a long-term project—a radio
documentary about Joseph Brodsky for BBC—and I loved the feeling of
waking up every morning and knowing there was something on my desk to
return to. Something
that was becoming larger and more complex over time, gaining weight and
mass in my mind. When it was finally finished I suppose I felt a little
empty. So I sat down and decided to try to write something bigger, and
that became Man Walks into a Room. Once I knew that it was going to be a
novel, I started to read a lot of contemporary fiction—especially
American—to try to figure out how to do it. This is how you write a
short sentence (when reading Salter), or this is how you do good
dialogue (when reading Roth), etc. It was very important to me NOT to
write what some people call a "poet's novel"—something driven largely by
the momentum of language. I wanted a plot. I wanted characters that
sounded like real people. I still wanted to use everything I'd learned
writing poetry, but to a totally different effect. Larry Weissman - randomhouse.com
The Art of Relaxation in Turks and Caicos
She'd taken her kids to the Atacama Desert, to Sarajevo, even (in utero)
to the Arctic. It was high time for some simple sea, sand, and sun.
Nicole Krauss applies herself to the art of doing nothing...
the first thing people always tell you about the Turks and Caicos, and
often the only thing they tell you with any specificity, has to do with
the water. I heard so much about the color and clarity of the water that
upon landing in Providenciales, at thirty-eight square miles the longest
island in the Turks and Caicos, I expected something on the spectrum I'd
never seen before, activated by some secret fluorescence. I wasn't
disappointed, though I don't think it’s possible for the sea to
disappoint—it's like suggesting that the stars in the night sky could
disappoint, or any timeless feature of nature which offers us a view
onto eternity. The water that laps at the white, large-grained sand is
indeed a startling electric blue, somewhere between turquoise, celeste,
and cyan, though as it deepens it becomes something else entirely. And,
yes, it is very clear; as people will repeatedly tell you, when you walk
out in the water and look down, you can see your toes. But you can see
your toes in the bathtub, too....
cntraveler.com - facebook/krauss - 2013
do women get to write with authority
? Both “author” and
“authority” evolved from the Latin “augere” — to increase, to
originate — and expanded in “author” to be someone who invents
or causes something. Which returns me to a question that
bothered me to no end when I was younger: Who gives her the
right? Or more like: How does she take it? How does she claim
for herself the authority to increase or originate, or invent or
cause something, such as a book that people will read?
-NK nytimes.com -
what is literature really?
Bolled down to a single sentence
i'd say it's
a endless conversation about
what it means to be human
and to read literature is to engage
in that conversation
BECOMING DOMESTIC A hundred million migrants roam the planet. They kick up a soft dust, from space they appear
To be weather, a little storm the wind
When it rains they lift their bowls to the sky. They sleep with a rock under their heads.
At dawn they are the first to break
the photographic stillness.
They have lost all sense of distance.
A sort of arrival-late
Under darkening skies, the smell of miles
on your clothes-
A sort of arrival is needed to say how far
The crunch of gravel in the neighbor's driveway. He will join the
road with those other
The unnumbered who've found a home
just to leave it.
There is no good reason why night after night
I sleep here with you. Only that the roof over our heads
has not yet fallen.
illustration jillian tamaki
Letter to Van Gogh . Dear Vincent, You write about fear: Fear of the
blank canvas, but also, on a larger scale, of the “infinitely
meaningless, discouraging blank side” that life itself always
turns toward us, and which can only be countered when a person
“steps in and does something,” when he “breaks” or “violates.” It’s extraordinary that I should have
been given your letter now, because it is exactly that act of
breaking that has been on my mind this last year, and which I
feel has everything to do with how I want to make art, and how I
want to live. It’s a strange thing about the human
mind that, despite its capacity and its abundant freedom, its
default is to function in a repeating pattern. It watches the
moon and the planets, the days and seasons, the cycle of life
and death all going around in an endless loop, and
unconsciously, believing itself to be nature, the mind echoes
these cycles. Its thoughts go in loops, repeating patterns
established so long ago we often can’t remember their origin, or
why they ever made sense to us. And even when these loops fail
over and over again to bring us to a desirable place, even while
they entrap us, and make us feel anciently tired of ourselves,
and we sense that sticking to their well-worn path means we’ll
miss contact with the truth every single time, we still find it
nearly impossible to resist them. We call these patterns of
thought our “nature” and resign ourselves to being governed by
them as if they are the result of a force outside of us, the way
that the seas are governed — rather absurdly, when one thinks
about it — by a distant and otherwise irrelevant moon. And yet it is unquestionably within
our power to break the loop; to “violate” what presents itself
as our nature by choosing to think — and to see, and act — in a
different way. It may require enormous effort and focus. And yet
for the most part it isn’t laziness that stops us from breaking
these loops, it’s fear. In a sense, one could say that fear is
the otherwise irrelevant moon that we allow to govern the far
larger nature of our minds. And so before we can arrive at the
act of breaking, we first have to confront our fear. The fear
that the blank canvas and the blank side of life reflects back
to us, which is so paralyzing, as you put it, and seems to tell
us that we can’t do anything.” It’s an abstract fear, though it
finds a way to take on endless shapes. Today it may be the fear
of failure, but tomorrow it will be the fear of what others will
think of us, and at a different time it will be fear of
discovering that the worst things we suspect about ourselves are
true. My lover says that the fear, which seems always to be
there when one wakes up in the morning, and which he feels in
the hollow between his ribs (above his stomach and below his
heart) comes from the “other world,” a phrase that always brings
tears to his eyes, and by which he means the awareness of our
finitude, our lack of the infinite and eternal. I think he’s
right, but I would also add to that that fear, being
anticipatory, is always without knowledge. It is a mental
calculation based on the future unknown. And yet the experience
of fear is the experience of being in the grip of a sensation
that seems to possess an unassailable conviction in itself. To
be afraid that the plane will crash is, in a sense, to assume
that the plane will crash. And yet even if we could scrape away
the many forms our fear takes and get to the underlying
source-our mortality, our division from the infinite — we would
still discover that our fear is not based on actual knowledge,
unlike the part of us that chooses to be free. Bravery is always
more intelligent than fear, since it is built on the foundation
of what one knows about oneself: the knowledge of one’s strength
and capacity, of one’s passion. You implied as much in your
letter: “However meaningless and vain, however dead life appears
to be, the man of faith, of energy, of warmth, and who knows
something, doesn’t let himself be fobbed off like that,” you
wrote. “He steps in and does something, and hangs on to that, in
short, breaks, “violates.” And so we find ourselves, once again,
in front of the blank canvas. The blank canvas, which reflects
both our fear and our opportunity to break it. In Jewish
mysticism, the empty space — the Chalal Panui, in Hebrew — has
tremendous importance, because it was the necessary
pre-condition for God’s creation of the world. How did the Ein
Sof — the being without end, as God is called in Kabbalah —
create something finite within what is already infinite? And how
can we explain the paradox of God’s simultaneous presence and
absence in the world? And the answer to this, according to the
Kabbalah, is that when it arose in God’s will to create the
world, He first had to withdraw Himself, leaving a void. To
create the world, God first had to create an empty space. And so we might say: The first act of
creation is not a mark, it is the nullification of the infinity
that exists before the first mark. To make a mark is to remember
that we are finite. It is to break, or violate, the illusion
that we are nature that goes around in a loop forever. But it is
also a confirmation of our knowledge and freedom, which is all
we have in this world. Sincerely, Nicole Krauss . bloglovin.com - www2.uadec.mx - rampages.us
quei silenzi tra una parola e l’altra stavo scrivendo
però... etc ”
poi ho pensato di mettere un
punto dopo ‘e però’ ... dando spazio al silenzio.
sono riuscita ad afferrare come una nuova
punteggiatura per il silenzio “ E però ” indica che
dopo c’è ancora qualcosa FOTOGRAFIE perché i libri non vengono dedicati con
fotografie ? Per me una delle cose più curiose quando apro un
libro è: è dedicato a Matthew o a Georgia.
Chi è questa persona, con cui
l’autore ha un rapporto tanto speciale? Così,
come per soddisfare il
lettore oltre che l’autore, ho optato per le fotografie.
Nella Storia dell’amore il protagonista deve cercare un titolo per il
suo libro: comincia con “ridere e piangere”, “ridere, piangere e
scrivere”, poi riflette ancora e arriva a “ridere e piangere e scrivere
e aspettare”. In qualche modo questa è la sua poetica? Ci sono state molte cose che mi hanno fatto sentire libera.
Ho scritto poesie per molti anni, fin da
bambina quando pensavo che sarei stata una
poetessa; e ho scritto il mio primo ROMANZo a venticinque anni e da
allora non avevo mai scritto nessuna poesia. Ma ci sono tante cose che amavo nel ROMANZo , che ho capito che era
questa la mia vocazione, la confusione, le complicazioni, le
imperfezioni, perché davvero non
penso che ci possa essere UN ROMANZo perfetto,
non credo che esista. Mi piaceva l’idea che ogni volta si debba
inventare la forma. Ma una delle cose che mi lascia come insoddisfatta è
che le parole sono così tutte insieme, si affollano tutte sulla pagina
mentre nella poesia c’è sempre l’occasione
di fare di una parola un’idea solitaria, che resta da sola e obbliga il
lettore a dedicarle il silenzio,
a offrirle una pausa. Con questo libro ho provato a fare qualcosa del
genere, ad agire di nuovo con notazioni musicali, per lasciare il
lettore solo, per offrire una pausa prima e dopo, e ho sperimentato la
stessa cosa alla fine del libro, quando ci sono Leo e Alma, e ciascuno
dei due parla,
e il fatto che devi girare la pagina ti
obbliga a prenderti una pausa, sentire
prima una voce poi l’altra, Per me era cercare di soddisfare questo
problema, per colmare questa mia insoddisfazione che resta nel passaggio
dalla poesia alla prosa, e ci sono molte altre cose che nel ROMANZo non
si possono fare, ma questa è la cosa che mi dà più fastidio.
luciano minerva - intervista - rainews24
Writer's Block-The end of
... e-books made up about 10 percent of
book sales in 2010, and that number is rapidly rising. You had to read
between the lines to find the real news, but there it was: To the
growing list of things that will be extinct in our children's world, we
can now add bookstores. Does it surprise us? Should we care? There were booksellers in ancient Greece and Rome and the medieval
Islamic world, but it was not until after the advent of printing that
the modern bookstore was born ...
To walk into a modern-day bookstore is a little bit like studying a
single photograph out of the infinite number of photographs that could
be taken of the world: It offers the reader a frame. Within that frame,
she can decide what she likes and doesn't like, what is for her and not
She can browse, selecting this offering and
rejecting that, and in this way she can begin to assemble a program of
taste and self.
Nicole Krauss - 2011 tnr.com
Book of 2017 - A
sophisticated, thought-provoking book with moments of exquisite beauty.
Krauss’s extraordinary fourth novel is a study of
identity, belonging — and the allure of the Tel Aviv Hilton. One strand
concerns Nicole, a writer who leaves New York on a journey of
self-discovery, making a pilgrimage to the hotel she visited frequently
as a child. In a parallel strand we meet dyspeptic millionaire lawyer
Epstein, also drawn to Tel Aviv, where he is confronted with his
ancestral past. A sophisticated, thought-provoking book with moments of
exquisite beauty. ft.com
- The New York Times Book Review - forest dark in
100 Notable Books of 2017 fb/nk - 2017 da una lettera dell'editore -
terry karten - 2017
a richly layered
masterpiece; creative, profound, insightful, deeply serious,
effortlessly elegant, both human and humane. Krauss is a poet and a
philosopher, and this latest work does what only the very best fiction
can do — startles, challenges and enlightens the reader, while showing
the familiar world anew. ft.com - fb/nk - 2017
I think that is what one is always doing as a writer. Not just
self-expression, but something bigger than that which is self-invention.
In that process of self-invention you are expanding a portion of
yourself. I poured so much that is real and true about myself and my
life into Nicole [the character in Forest Dark] but at some point it
became literature, which is something different than simply history."
She adds, "Writers are kind of like mockingbirds, in that they take what
is interesting and shiny and useful from their own lives and they weave
it into this tapestry that they're making. I wove an awful lot of my
life into this book, but on both sides - no less on Epstein's side than
on Nicole's. -NK
interweaves the stories of two disparate individuals — an older lawyer
and a young novelist — whose transcendental search leads them to the
same Israeli desert.
-- a brillant novel. i am full of admiration -
fb/nk - 2017
forest dark is brillantly original,
a tour de force of fiction writing innovative, consistently fascinating,
and simply the most powerful and accomplished novel nicole krauss has
ever written.e15"Forest Dark
is her most cerebral book yet - it tackles questions
of faith and identity, as well as Freud and Kafka's conception of
'unheimlich', a kind of anxiety inspired by the uncanny sensation of
recognizing something you've never seen before .
weekly - 2017
One of America’s most
important novelists - New York Times - the award-winning, New
York Times bestselling author of The History of Love, conjures an
achingly beautiful and breathtakingly original novel about personal
transformation that interweaves the stories of two disparate
individuals—an older lawyer and a young novelist—whose transcendental
search leads them to the same Israeli desert .
Jules Epstein, a man whose drive, avidity, and
outsized personality have, for sixty-eight years, been a force to be
reckoned with, is undergoing a metamorphosis. In the wake of his
parents’ deaths, his divorce from his wife of more than thirty years,
and his retirement from the New York legal firm where he was a partner,
he’s felt an irresistible need to give away his possessions, alarming
his children and perplexing the executor of his estate. With the last of
his wealth, he travels to Israel, with a nebulous plan to do something
to honor his parents. In Tel Aviv, he is sidetracked by a charismatic
American rabbi planning a reunion for the descendants of King David who
insists that Epstein is part of that storied dynastic line. He also
meets the rabbi’s beautiful daughter who convinces Epstein to become
involved in her own project—a film about the life of David being shot in
the desert—with life-changing consequences. But Epstein isn’t the only seeker embarking on a
metaphysical journey that dissolves his sense of self, place, and
history. Leaving her family in Brooklyn, a young, well-known novelist
arrives at the Tel Aviv Hilton where she has stayed every year since
birth. Troubled by writer’s block and a failing marriage, she hopes that
the hotel can unlock a dimension of reality—and her own perception of
life—that has been closed off to her. But when she meets a retired
literature professor who proposes a project she can’t turn down, she’s
drawn into a mystery that alters her life in ways she could never have
imagined. Bursting with
life and humor, Forest Dark is a profound, mesmerizing novel of
metamorphosis and self-realization—of looking beyond all that is visible
towards the infinite. amazon -
forest and desert have both a literal and metaphorical power in the
novel. how much time did you spend in the various settings in order to
be able to capture both their atmosphere and their meaning? I’ve spent a lot of time in
both settings, throughout my life, but very little especially for this
novel. The exception was three days I spent in
the Judaean and the Negev deserts in Israel (they are continuous, so
going from north to south you can drive through both).
I was there, ostensibly, to figure out what had happened to Epstein. I
got nowhere with that, but I was, as always, moved by the place, and
happy to be there. You can’t spend time in
a desert and not go a little deliciously out of your mind.
One night, by the kerosene heater, I opened my computer. And then it
suddenly hit me that, of course, Kafka had come here.
Here to the desert, to what was then Palestine.
All of the evidence turned up afterwards, in the months of scouring his
letters and diaries. By which I
mean, the evidence that Palestine was his only hope and means of escape
and transformation, and that maybe, just maybe, he took it. frances gertler - foyles.co.uk - 2017
... The best kind of writing gains that trust
within the first page and then it builds: trust that wherever the
narrative is going, it will be worthwhile, and that the world created on
the page is made live because every aspect of it has been deeply
considered and thoughtfully conceived. As a reader, I find that the more
space I am given to make connections on my own - in other words, the
more the author trusts me, in turn, to think for myself and to
understand - the deeper my experience, and often the more revelatory.
eric farwell - electricliterature.com - 2017
Midway upon the journey of our life, I found
myself within a forest dark, for the
straightforward pathway had been lost - dante alighieri - canto I Nel mezzo del cammin di nostra vita mi
ritrovai per una selva oscura
ché la diritta via era smarrita
fb/nk - 14.2.2018
Abbiamo fatto del noto,
del conosciuto, una sorta di religione, ma l'unico momento in cui ci
riempiamo di stupore è quello in cui volgiamo lo sguardo sull'ignoto, il
non conosciuto. In cui ci rendiamo conto di quanto non sappiamo e
non abbiamo capito . L'incertezza può avere un valore
nella nostra vita - nk mauretta capuano - ansa.it - 2018
L’autrice parla a un
pubblico alto, che ha familiarità con un certo approccio alla vita, ma
lo fa senza scadere nell’autocompiacimento esclusivo bensì sforzandosi
di tracciare una strada, di dare disperatamente (e ancora una volta) una
forma al proprio pensiero e all’agire dei suoi personaggi. E allora
forse quella selva oscura diviene la metafora di ciò che necessariamente
prima o poi si deve attraversare, 'attratti
dall’idea di perdersi in quella foresta dove un tempo vivevamo di
meraviglia, nella consapevolezza che il nostro stupore è il prerequisito
di un’autentica coscienza dell’essere e del mondo'. gaia montanaro - ilfoglio.it - 2018
. Provavo la
crescente impressione che nei miei scritti il grado di artificio
superasse il grado di verità ... il caos è l'unica verità
che la letteratura sarà sempre condannata a tradire, perché nella
creazione delle sue delicate strutture, che evidenziano molti aspetti
autentici della vita, la parte di verità legata all'incoerenza e al
disordine non può che rimanere oscura . nk tecnologiamauriziobarraaccessibilita.com -
ogni vita è strana, la sua come la definirebbe? Come Nicole,
io non sono una persona che sente di vivere una vita autentica quando
aderisco ad una forma definita. Siamo attratti dai
cambiamenti e dalla crescita, dall'evolvere che ci rende diversi dagli
altri animali, ma anche dal bisogno di coerenza e stabilità.
Sono attratta da un modo di vivere che consenta sempre un massimo di
cambiamento Il punto è che stranezza non è l'opposto di normalità, ma la
prospettiva di un'espansione della mente e dell'anima.
a lei piacerebbe sparire nel nulla? No, assolutamente.
Sono una scrittrice e uno scrittore ha il sentimento di sparire e di
riapparire, di andare e tornare, di cambiare, una fortunata libertà di
fare questo attraverso la scrittura. Non voglio
sparire da questa vita, ma soltanto farla più grande. giuseppe fantasia - huffingtonpost.it - 2018
All novels are, in their way, an act of
resistance, since they insist on the importance and uniqueness of the
individual life, and refuse to given in to the mass generalities on
which governments and economies depend.-nk lily meyer - interview - npr.org - 2019
but myheartis awake -
2014 Now when the stranger in my father’s apartment
speaks to me, I answer reflexively in English: I’m Adam’s daughter. Who
You surprised me he says, clapping his chest. He sinks down onto the
sofa, his knees falling open.
You’re a friend of my father?
Yes, he says, rubbing his throat under the open collar. The hair on his
chest is sparse and gray. He gestures for me to sit, as if it were I who
had appeared unannounced in his living room, and not vice versa. With
shining eyes, he takes me in. I should have guessed, you look like him.
You didn’t say your name.
My father had never mentioned a Boaz.
I’m an old friend,the stranger said.
Why do you have the keys?
He lets me use the place when he isn’t here. Now and then, when I come
through the city. I stay in the back bedroom and check on things for him.
Last month there was a leak from upstairs.
My father died.
For a moment he says nothing. I can feel him studying me.
I know. He stands up, turning his back to me, and easily lifts the heavy
bag of groceries he’d set down earlier. But instead of leaving, as I
expect—as any normal person would—he retreats to the kitchen. I’m making
something to eat, he says without turning. If you’re hungry, it’ll be
ready in fifteen minutes.
AN ARRANGEMENT OF LIGHT
2013 E-story Set in an unnamed country as
familiar as it is otherworldly, An Arrangement of Light tells of a young
horticulturist’s admiration for the work of a great landscape architect
and his hope to help him build a new public park in the capital. The
young man ends up being complicit in a scheme he could never have
imagined or wished for. When a military coup ushers capricious generals
into power and they arrive in their black sedans with dark plans for the
new park, this personal secretary to the great designer discovers that
dreams risk running headlong into nightmares.
The Costs of Assimilation
- André Aciman & Nicole Krauss - 2013
What are the costs of assimilation into American society? And what
happens when we become someone other than the person we thought we would
be? In his new novel, Harvard Square, André Aciman explores these and
other questions... and is joined in conversation
by novelist Nicole Krauss to talk about themes
which haunt them both, identity - exile
- fiction and memory.
bookforum.com - 2013
Zusya on the Roof 2013
you write about Brodman, an old man reflecting on his life ...
do you think that the burden is specific to -
somehow inherent to - Judaism or common to all religious traditions?
orthodoxy of any kind requires conformity, and a certain kind of person will
always bridle under its restrictions. But because Judaism had to survive
the total dispersion of its people, the task of remembering became
uniquely critical to its survival. In the first century, post-exile,
Judaism was reshaped by the rabbis, and underwent drastic changes. The
integrity of an entire people came to rest on the power of their memory.
Zakor, Hebrew for the duty to remember, is at the core of Jewish
practice and, I’d argue, the strain of that obligation is central to
Jewish psychology. You’ve written a number of pieces from the point of view of aging
men—two sections in “Great House” are narrated by older men as well.
What draws you to that kind of voice? Clark Kent has Superman, Beyoncé has Sasha Fierce,
and I have old Jewish men.
You have two young sons. Do you worry that they will be somehow burdened
or limited in life by their own cultural heritage?
The older one recently felt the universe realign
when he discovered that George Washington wasn’t Jewish. When he was
four, he wept inconsolably for Moses, who could only look down on the
Land of Israel from Mount Nebo, but could never enter it. But Hebrew
school has since changed all that, chasing off his interest. Now he
finds his burdens elsewhere. The younger was born with a well of
irreverence that, as far as I can tell, appears to be bottomless.
Deborah Treisman - newyorker.com - 2013 Zusya on the Roof
begins where it ends, with a man - Brodman - up on
a roof holding his newborn grandson: “how did he wind up here?” ... To
begin specifically: Brodman had been dead for two weeks, but then, sadly,
he had come back to this world, where he’d spent fifty years trying to
write unnecessary books.
mookseandgripes.com - 2013
2011 Quattro storie si intrecciano sul finire
degli anni ’90, ognuna col suo carico di dolore, di segreti, di affetti.
Quattro vicende diverse, apparentemente slegate, accomunate da un unico
elemento: un’ingombrante scrivania, provvista di un’alzata e di tanti
cassetti, che diventa il simbolo della memoria e del dolore, della
difficoltà di vivere accanto a chi ha affrontato una delle più grandi
tragedie dell’età contemporanea e ancora deve fare i conti con questa
pesante eredità. Da New York a Londra, a Gerusalemme, alla Budapest
degli anni ’40, un mosaico di storie diverse, che colpisce il lettore e
lo trascina nei meandri oscuri della storia del Novecento e delle ferite
ancora aperte nel cuore degli uomini che l’hanno vissuta. feltrinelli.it - guanda - 2011
finalist of the The Orange Prize for Fiction 2011 for Great House
Es muy posible, por otra parte, que tengamos que
agradecer a Krauss el que, en un momento en el que la literatura no se
caracteriza precisamente por sus riesgos, se haya atrevido a plantear
una estructura que entrelaza una polifonía de personajes en crisis. Pero
lo cierto es que el experimento no acaba de resultar todo lo bien que la
propia novela merecería. Aunque mecida por la prosa efectiva de la
autora, la sucesión de personalidades hipersensibles acaba por saturar
el ritmo de la historia. Es como si toda la partitura señalase un in
Buenos momentos y malos cuartos de hora. La gran casa es, en muchos
aspectos, superior a la anterior La historia del amor, aunque no llega a
ser la gran novela en la que está a punto de convertirse. Hay razones
para pensar que esa gran novela está por llegar .
- elimparcial.es - 2013
It was all I could take. I grabbed the wooden
Pinocchio marionette down off the shelf and shouted for you. You came
inside, lumbering up the steps with dirt on your knees, and stood
watching while I made the Pinocchio dance and sing then trip and fall on
his face. Every time I made him collapse, you howled with laughter.
Enough, your mother said, putting her hand on my arm, I'm sure Mr.
Shatzner realizes our little Dovi isn't always so serious. But I kept
going, making you laugh so hard that you wet your pants, and then I
crushed the balding psychologist's hand in mine, told him he was welcome
to snoop around for as long as he liked, but that I had more important
things to do. I left the house, slamming the door behind me.
LA STORIA DELL'AMORE 2006 Leo Gursky fa del suo meglio per sopravvivere; vive alla giornata,
emarginato in una città enorme come New York, legge i libri del figlio,
che è un famoso scrittore ma che non lo conosce, e ogni sera batte
alcuni colpi sui tubi della caldaia di casa, per fare sapere al suo
vicino che è ancora vivo. Ma la sua vita non è sempre stata così. Quando
ancora era giovane, ebreo nella Polonia degli anni Trenta in cui era
nato, Leo Gursky si era follemente innamorato di Alma e aveva scritto un
libro in yiddish, "La storia del
l'amore", racconto di quel suo
impossibile sentimento. E Leo non sa che, nonostante le fughe e le
persecuzioni subite dai suoi protagonisti, quel libro esiste ancora...
Nicole Krauss è nata nel 1974 a New York,
dove vive, da una famiglia ebraica. ibs.it un ROMAN d'une rare beauté
où les mots tracent de subtils motifs enluminant des récits en apparence
parallèles, mais qui convergent lentement, avec prudence, dévoilant
pudiquement leurs rouages. En résulte ce que plusieurs considèrent comme
l'une des plus éclatantes réussites de la récente histoire de la
littérature états-unienne. voir.ca ... Spesso mi
domando chi sarà l'ultima persona che mi vedrà vivo. Se dovessi
scommettere, scommetterei sul ragazzo del take away cinese. Mi faccio
portare la cena quattro sere alla settimana. Ogni volta che arriva
faccio una gran scena prima di trovare il portafogli. Lui resta fermo
sulla soglia con il sacchetto unto in mano mentre io mi chiedo se sarà
questa la sera in cui, finito l'involtino primavera, mi trascinerò fino
al letto e morirò di infarto nel sonno ...
Maria Barbara Talamonti - informagiovani.info
If I had a cameraI'd take a picture of you
every day. That way I'd remember how you looked every single day of your
the history of love
le persone sole sono sempre sveglie nel cuore della notte
la storia dell'amore
UN UOMO SULLA SOGLIA
2005 Samson Greene, trentaseienne
professore di lettere alla Columbia University, scomparso mentre tornava
a casa dal lavoro, viene misteriosamente ritrovato mentre vagabonda con
gli abiti a PEZZI nel deserto del Nevada. Operato per un tumore benigno
al cervello, rimane però affetto da un terribile disturbo alla memoria,
per cui non ricorda assolutamente nulla dei suoi ultimi venticinque anni
di vita. Il suo tentativo di riprendere in mano la propria vita passerà
attraverso un fallimentare apprendistato coniugale fino alla definitiva
separazione dalla moglie; e poi, tra i tanti incontri della sua nuova
vita, ci sarà anche quello con il neuropsichiatria Ray, le cui cure
sperimentali sortiranno su di lui effetti inquietanti. ibs.it
Manhattan ? no ! Brooklyn è
la nuova meta! Manhattan ormai ha perso charme
è un grande uniforme centro commerciale.
La gente giovane e creativa si trasferisce a Brooklyn
non solo per i prezzi delle case ma perchè c’è ancora autenticità.
NK - mondoinformazione.com - 2013
All I want is not to die on a day when I went unseen