Последние издания книг Анны Каван

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Set in a frozen world that is gradually being devastated by ever-encroaching ice, Anna Kavan's masterwork follows one man's pursuit of a mysterious silver-haired girl to the ends of the earth; to the end of everything.

«Лёд» — главный роман британской писательницы Анны Каван, которую при жизни сравнивали с Вирджинией Вулф и называли сестрой Кафки. Критики считают Каван основоположницей жанра slipstream («завихрение») — литературы фантазийного воображения, где причинно-следственные связи держатся на волоске, а обостренные до предела чувства несравнимо важнее логики. В ее романах вполне реалистичное изображение вдруг подергивается рябью, и из глубины подсознания всплывают на поверхность неожиданные образы и картины.

Set in a frozen world that is gradually being devastated by ever-encroaching ice, Anna Kavan's masterwork follows one man's pursuit of a mysterious silver-haired girl to the ends of the earth; to the end of everything.

Anna Kavan is one of the great originals of twentieth-century fiction, comparable to Leonora Carrington and Jean Rhys, a writer whose stories explored the inner world of her imagination and plumbed the depths of her long addiction to heroin. This new selection of Kavan’s stories gathers the best work from across the many decades of her career, including oblique and elegiac tales of breakdown and institutionalization from Asylum Piece (1940), moving evocations of wartime from I Am Lazarus (1945), fantastic and surrealist pieces from A Bright Green Field (1958), and stories of addiction from Julia and the Bazooka (1970). Kavan’s turn to science fiction in her final novel, Ice, is reflected in her late stories, while “Starting a Career,” about a mercenary dealer of state secrets, is published here for the first time.

Kavan experimented throughout her writing career with results that are moving, funny, bizarre, poignant, often unsettling, always unique. Machines in the Head offers American readers the first full overview of the work of a fearless and dazzling literary explorer.

Это книга о депрессии, безумии и одиночестве. Неведомая сила приговорила рассказчицу к нескончаемым страданиям в ожидании приговора за неизвестное преступление. Анна Каван (1901—1968) описывает свой опыт пребывания в швейцарской психиатрической клинике, где ее пытались излечить от невроза, депрессии и героиновой зависимости. Как отметил в отклике на первое издание этой книги (1940) сэр Десмонд Маккарти, «самое важное в этих рассказах — красота беспредельного отчаяния».

«Анна Каван рассказывает о нервном срыве, попытках вылечиться и паранойи от того, что тебя запирают, а потом отпускают в мир, где почти всё кажется угрожающим. Каван оказалась под влиянием сюрреализма, преобладавшего в континентальном европейском искусстве, но почти не замеченного английскими писателями. Сила символической экспрессии связывает прозу Каван с европейским авангардом, который счел безумие законной темой искусства». Джереми Рид

"Лёд" (1967) - главный роман британской писательницы Анны Каван (1901-1968), которую при жизни сравнивали с Вирджинией Вульф и называли сестрой Кафки. Критики считают Каван основоположницей жанра slipstream ("завихрение") - литературы фантазийного воображения, где причинно-следственные связи держатся на волоске, а обостренные до предела чувства несравнимо важнее логики. В ее романах вполне реалистичное изображение вдруг подергивается рябью, и из глубины подсознания всплывают на поверхность неожиданные образы и картины.

Set in an unspecified but eerily familiar time and landscape, this is the story of Mark, a protagonist who struggles against the machinations of a hostile society and bureaucracy. Suffering at first from the persecution of his father as a conscientious objector, his life quickly comes under the control of the Machiavellian Mr. Spector, an influential government minister who arranges Mark's education, later employment, and even accommodation. It is when Mark tries to break free from Spector's influence that his life begins to unravel.

Kavan was always a dark writer, a very dark writer. Like Kafka, she writes of prisons with no bars, of paranoiac nightmares, of living in a halfway world between hell and reality. First published sixty years ago (Doubleday did it in the U.S. in 1946), Asylum Piece charts the descent of the narrator from the onset of neurosis to final incarceration at a Swiss clinic. This collection of interlinked and largely autobiographical stories (Kavan suffered numerous breakdowns and was a life-long heroin addict) evokes the sense of paranoia and persecution found in The Trial, though her deeply personal, restrained, and almost foreign-accented style has no true model. The same characters who recur throughout-the protagonist's unhelpful advisor,"" the friend/lover who abandons her at the clinic, and an assortment of deluded companions-are sketched without a trace of the rage, self-pity, or sentiment that have marked more recent accounts of mental instability.

A largely autobiographical account of an unhappy childhood, Sleep Has His House startled with its strangeness in 1948. Today it is one of Anna Kavan’s most acclaimed books.

A daring synthesis of memoir and surrealist experimentation, Sleep Has His House charts chronologically the stages of the subject’s gradual withdrawal from all interest in and contact with the daylight world of received reality. Brief flashes of daily experience from childhood, adolescence and youth are described in what Kavan terms ‘night-time language’ — a heightened, decorative prose that frees these events from their gloomy associations. The novel suggests we have all spoken this dialect in childhood and in our dreams, but these thoughts can only be sharpened, or decoded by contemplation in the dark.

Anna Kavan maintained that the plot of a book is only the point of departure, beyond which she tries to reveal that side of life which is never seen by the waking eye, but which dreams and drugs can suddenly illuminate. She spent the last ten years of her life literally and metaphorically shutting out the light; the startling discovery of Sleep has His House is how much these night-time illuminations reveal her joy for the living world.

Blends dream sequences and narrative to reveal an ice-and-snow world run by a secret government and threatened with nuclear devastation

The last of Anna Kavan's books to be published in her lifetime, Ice is a surrealistic dream-novel set in an unrecognizable world padded by ice and snow, run by a secret government, invaded by aggressors, and threatened with nuclear destruction.

A nameless narrator in frenzied pursuit of a frail "ice-maiden" he once loved turns out to be not so much a character in his own right as part of the girl and of the "warden" - a bullying high-ranking official whose sullen, outlandish functionaries police the country. Dream sequences slip in and out of the narrative, and the story ends with a high-speed ride in a car - one of the huge, sleek automobiles that appear everywhere in Kavan's writing: tearing into jungles, mowing down people and problems, slicing through entire battle scenes.

«Лед» (1967) – главный роман британской писательницы
Анны Каван (1901–1968), которую при жизни сравнивали с Вирджинией Вулф и называли «сестрой Кафки». Критики считают Каван основоположницей жанра slipstream («завихрение») – литературы фантазийного воображения, где причинно-следственные связи держатся на волоске, а обостренные до предела чувства несравнимо важнее логики.
В ее романах вполне реалистичное изображение вдруг подергивается рябью, и из глубины подсознания всплывают на поверхность неожиданные образы и картины.
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