Lydia Davis

«Una obra única en la literatura americana que será considerada dentro de un tiempo como una de las mayores y más insólitas contribuciones a las letras norteamericanas», , JAMES WOODThe New Yorker L

ÓSé que no es nada muy fascinante, pero es nuestra vida", escribe una madre a sus hijos en una carta en la que les cuenta sus últimos hallazgos: la mayoría de los alimentos que consume vienen de lugares tan remotos que le resulta vergonzoso seguir comprandolos y decide cambiar radicalmente su vinculo con la alimentacion, y ademas empezo a sentarse en otra silla de la mesa de la cocina porque desde alli ahora puede ver los arboles por la ventana. Quizas sean hechos nada fascinantes, pero a traves de la mirada de Lydia Davis se resignifican y adquieren una belleza particular por la manera en que los articula a partir de un lenguaje tan despojado como perturbador. En este libro, Davis construye una coleccion de relatos breves en los que la cotidianidad se vuelve un mundo otro para observar y asi aparecen desde registros de conversaciones matrimoniales fallidas, escenas de pequeñas alianzas temporales entre vecinos que comparten un ascensor, hasta cartas a instituciones a las que siempre hay algo para reclamarles, listas sorprendentes y sueños hilarantes. Esa gente que no conocemos confirma la potencia del estilo de Lydia Davis, una escritora brillante que se ha vuelto un referente ineludible de la lit

En estos relatos, Lydia Davis reafirma su maestría narrativa. Alternando historias breves –a veces de dos líneas– con otras más extensas, consigue un efecto embriagador. Como en un truco de magia,

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Can't and Won't is the new collection from Lydia Davis, one of the greatest short story writers alive. This title is the winner of The Man Booker International Prize 2013. Lydia Davis has been universally acclaimed for the wit, insight and genre-defying formal inventiveness of her sparkling stories. With titles like 'A Story of Stolen Salamis', 'Letters to a Frozen Pea Manufacturer', 'A Small Story About a Small Box of Chocolates', and 'Can't and Won't', the stories in this new collection illuminate particular moments in ordinary lives and find in them the humorous, the ironic and the surprising. Above all the stories revel in and grapple with the joys and constraints of language - achieving always the extraordinary, unmatched precision which makes Lydia Davis one of the greatest contemporary writers on the international stage. Praise for Lydia Davis: "What stories. Precise and piercing, extremely funny. Nearly all are unlike anything you've ever read". (Metro). "To read The Collected Stories of Lydia Davis is to be reminded of the grand, echoing mind-chambers created by Sebald or recent Coetzee. A writer of vast intelligence and originality' Independent on Sunday 'Among my most favourite writers. Read her now!". (A. M. Homes). Lydia Davis is the author of Collected Stories, one novel and six short story collections, the most recent of which was a finalist for the 2007 National Book Award. She is the recipient of a MacArthur Fellowship and was named an Officer of the Order of Arts and Letters by the French government for her fiction and her translations of modern writers, including Gustave Flaubert and Marcel Proust. She won the Man Booker International Prize in 2013.

Lydia Davis has been universally acclaimed for the wit, insight and genre-defying formal inventiveness of her sparkling stories.With titles like A Story of Stolen Salamis, The Problem of the Vacuum Cleaner, Letters to a Frozen Pea Manufacturer and Can''t and Won''t, the stories in this new collection illuminate particular moments in ordinary lives and find in them the humorous, the ironic and the surprising.Above all the stories revel in and grapple with the joys and constraints of language - achieving always the extraordinary, unmatched precision which makes Lydia Davis one of the greatest contemporary writers on the international stage.

This is the first and only novel by Lydia Davis, winner of the Man Booker International Prize 2013. 'It surprised me, over and over, to find that I was with such a young man. He was twenty-two when I met him. He turned twenty-three while I knew him, but by the time I turned thirty-five I did not know where he was anymore.' Mislabelled boxes, confusing notes, wrong turnings - such are the obstacles in the way of the unnamed narrator of The End of the Story as she organises her memories of a love affair into a novel. With compassion, wit and what seems to be candour, she seeks to determine what she actually knows about herself and her past, but we begin to suspect, along with her, that given the elusiveness of memory and understanding, any tale retrieved from the past must be fiction. Back in print at last, this is Lydia Davis' first - and so far only - novel. "Extraordinary". (Newsday). "Brilliant". (New Yorker). "Breathtakingly elegant". (Details). "Beautifully written". (Marie Claire). "Astonishing". (Elle). Lydia Davis is the author of Collected Stories, one novel and six short story collections, most recently Can't and Won't. She is the recipient of a MacArthur Fellowship and was named an Officer of the Order of Arts and Letters by the French government for her fiction and her translations of modern writers, including Gustave Flaubert and Marcel Proust. She won the Man Booker International Prize in 2013.

El final de la historia es la primera novela de Lydia Davis, celebrada autora de tantos relatos breves que pasarán a la historia como los mejores de toda una generación de escritores norteamericanos.

NATIONAL BESTSELLER "The New York Times - Los Angeles Times - The Boston Globe " Her stories may be literal one-liners: the entirety of "Bloomington" reads, "Now that I have been here for a little while, I can say with confidence that I have never been here before." Or they may be lengthier investigations of the havoc wreaked by the most mundane disruptions to routine: in "A Small Story About a Small Box of Chocolates," a professor receives a gift of thirty-two small chocolates and is paralyzed by the multitude of options she imagines for their consumption. The storiesmay appear in the form of letters of complaint; they may be extractedfrom Flaubert's correspondence; or they may be inspired by the author's own dreams, or the dreams of friends. What does not vary throughout "Can't and Won't," Lydia Davis's fifth collection of stories, is the power of her finely honed prose. Davis is sharply observant; she is wry or witty or poignant. Above all, she is refreshing. Davis writes with bracing candor and slyhumor about the quotidian, revealing the mysterious, the foreign, the alienating, and the pleasurable within the predictable patternsof daily life.

« Par ce mélange de lucidité, de brièveté dans laphorisme, doriginalité dans la forme, de comédie astucieuse, de désolation métaphysique, de contrainte philosophique et de sagesse humaine, lœuvre de

Lydia Davis es un prodigio, de ahí su fama y prestigio en EEUU. El libro tiene un gran sentido del humor.En este libro Lydia Davis repasa temas como: amigos aburridos, Marie Curie, los vecinos, el matrimonio, la etica, los tanatorios, los hijos, la guerra, los diccionarios, en fin, abarca un poco de todo con un hilo conductor: la belleza del lenguaje al servicio de una idea que todos hemos sentido de forma incoada, pero que quizas nunca hemos podido conseguir cuajar.

Ensayos II: Lydia Davis reflexiona sobre el lenguaje, la traducción y la escritura. Un volumen que destaca su trabajo con autores como Proust y Flaubert y su pasión por las lenguas.

A collection of short fiction that is written by the winner of the Man Booker International Prize 2013.

“Ni puedo ni quiero es el libro de relatos más revolucionario escrito por un escritor norteamericano en los últimos 25 años”. The Boston Globe Lydia Davis, una de las cuentistas contemporáneas más i

Lydia Davis returns with a timeless collection of essays on literature and language.Precise, concentrated, lyrical. No one writes like Lydia Davis, and everyone should read her Hanif KureishiA writer as mighty as Kafka, as subtle as Flaubert, and as epoch-making, in her own way, as Proust Ali SmithLydia Davis gathered a selection of her non-fiction writing for the first time in 2019 with Essays. Now, she continues the project with Essays Two, focusing on the art of translation, the learning of foreign languages through reading, and her experience of translating, amongst others, Flaubert and Proust, about whom she writes with an unmatched understanding of the nuances of their styles.Every essay in this book is a revelation.

The first and only novel by Lydia Davis, winner of the Man Booker International Prize 2013.It surprised me, over and over, to find that I was with such a young man. He was twenty-two when I met him. He turned twenty-three while I knew him, but by the time I turned thirty-five I did not know where he was anymore.Mislabelled boxes, confusing notes, wrong turnings - such are the obstacles in the way of the unnamed narrator of The End of the Story as she organises her memories of a love affair into a novel. With compassion, wit and what seems to be candour, she seeks to determine what she actually knows about herself and her past, but we begin to suspect, along with her, that given the elusiveness of memory and understanding, any tale retrieved from the past must be fictionBack in print at last, this is Lydia Daviss first - and so far only - novel. ExtraordinaryNewsdayBrilliantNew YorkerBreathtakingly elegantDetailsBeautifully writtenMarie ClaireAstonishingElleLydia Davis is the author of Collected Stories, one novel and six short story collections, most recently Cant and Wont. She is the recipient of a MacArthur Fellowship and was named an Officer of the Order of Arts and Letters by the French government for her fiction and her translations of modern writers, including Gustave Flaubert and Marcel Proust. She won the Man Booker International Prize in 2013.

Lydia Davis wird in den USA geruhmt als eine unserer originellsten und einflussreichsten Autorinnen, eine Erzahlerin mit ungewohnlicher emotionaler Scharfe, formellem Einfallsreichtum und der Fahigkeit, uns genau dort festzuhalten, wo wir uns mental oder seelisch zu entgleiten drohen oder im Kreis gehen.Mit ihrer vierten Story-Sammlung Varieties of Disturbance, 2007, schrieb sich Lydia Davis endgultig in die Reihe der Klassiker der Moderne ein. Ihre Themen sind uberaus vielfaltig: von den Irritationen bei der Betrachtung eines Sauglings, uber die Vorbereitungen, die Kafka fur ein Abendessen mit Milena trifft, bis zur Untersuchung einer Reihe von Briefen einer Schulklasse aus dem Jahr 1952 an einen kranken Mitschuler. Sowohl alltaglich als auch ungemein uberraschend sind diese Geschichten, unterschiedlichst in der Form, von einem sehr trockenen Witz; viele haben nur die Lange eines Satzes.Wem es in der Literatur um eine Erforschung des Denkens geht, um eine Erkundung unserer Phantasie- und Geistestatigkeiten, um den Imaginationsraum, den jedes Erzahlen zu offnen in der Lage sein sollte, fur den sind die Geschichten von Lydia Davis Schatzkammern literarischer Erfindung. Nicht nur, dass sie alltagsneurotische Phantasien und Uberlegungen in originellster Weise sprachlich dingfest machen es sind auch raffinierte Kommentare zum Erzahlen selbst, ob sie nun Kafka selbst sprechen lassen, Beckett neuschreiben oder unterschiedliche Proust-Ubersetzungen auf ihre Alltagstauglichkeit uberprufen.Geistreich, gewandt, ironisch, voller Understement und permanenter Uberraschungen (Joyce Carol Oates)Umwerfend komisch, erschreckend, vom Feinsten. Davis ist eine Magierin in Sachen Selbst-Bewusstsein. (Jonathan Franzen)Raffinierte Stories mit hintergrundigem Witz und von franzosischer Pragnanz. (Jeffrey Eugenides)Wonach sie trachtet, ist: Wahrheit. (Dave Eggers)Die beste Prosastilistin Amerikas. (Rick Moody)Ein in seiner Kombination von luzider Klarheit, aphoristischer Kurze, formaler Originalitat, listiger Komik, metaphysischer Dusterkeit, philosophischer Stringenz und menschlicher Weisheit in der amerikanischen Literatur wohl einzigartiges Werk. (New Yorker)

Ein Paar befurchtet, ihre Freunde konnten sie fur Langweiler halten; eine Frau fuhrt uns vor, wie schwierig es ist, Prioritaten im Alltag herzustellen; eine andere mochte sich selbst gerne als nichts begreifen und muss entdecken, dass das ein zu hochgestecktes Ziel ist; ein Bestattungsunternehmen bekommt einen Beschwerdebrief wegen sprachlicher Unzulanglichkeiten in seinem Werbematerial; wir werden in Uberlegungen hineingezogen, welches die Bedingungen fur gluckliche Erinnerungen sind, lesen uber die gluckliche Ehe eines siamesischen Zwillingspaars, uber die Ungleichbehandlung von Kindern und Worterbuchern, einen knappen Bericht uber einen Massenmord in Bohmen und eine Familienzusammenfuhrungsgeschichte mit Schluckauf.Willkommen in der Welt von Lydia Davis und ihren Erzahlungen, die manchmal 30 Seiten, manchmal nur eine Zeile lang sind, und immer die Tucken des Verhaltnisses von Sprache und Welt verhandeln mit Ernst und Witz, ungewohnlich und raffiniert und niemals langweilig! Die stille Gigantin der amerikanischen Literatur ist auch in diesem Band aus dem Jahr 2002 eine Offenbarung fur alle, die wissen wollen, was Literatur eigentlich kann und wie sie das anstellt.