Anne Carson

A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy   In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions—Aischylos’ Agamemnon, Sophokles’ Elektra, and Euripides’ Orestes—giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law. Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

In An Oresteia, the classicist Anne Carson combines three different versions of the tragedy of the house of Atreus ― Aiskhylos' Agamemnon, Sophokles' Elektra and Euripides' Orestes. After the murder of her daughter Iphigeneia by her husband, Agamemnon, Klytaimestra exacts a mother's revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra's actions, Apollo calls on her son, Orestes, to avenge his father's death with the help of his sister Elektra. In the end, Orestes is driven mad by the Furies for his bloody betrayal of family. Condemned to death by the people of Argos, he and Elektra must justify their actions ― or flout society, justice and the gods. Carson's translation combines contemporary language with the traditional structures and rhetoric of Greek tragedy, opening up this ancient tale of vengeance to a modern audience and revealing the essential wit and morbidity of the original plays.

Antigonick is a translation of Sophokle's Antigone only in the loosest sense – with significant changes and metatextual additions to the original, an extra character, and illustrations with interpretations left open to the reader, it could easily be considered a different work altogether. With text blocks hand-inked on the page by Anne Carson and her collaborator Robert Currie, Antigonick features translucent vellum pages with stunning drawings by Bianca Stone that overlay the text. Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Antigonick is her first attempt at making translation into a combined visual and textual experience: it will provoke poetry readers, classical scholars, theatre people and comic-book aficionados.

Antigonick is a translation of Sophokle's Antigone only in the loosest sense – with significant changes and metatextual additions to the original, an extra character, and illustrations with interpretations left open to the reader, it could easily be considered a different work altogether. With text blocks hand-inked on the page by Anne Carson and her collaborator Robert Currie, Antigonick features translucent vellum pages with stunning drawings by Bianca Stone that overlay the text. Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Antigonick is her first attempt at making translation into a combined visual and textual experience: it will provoke poetry readers, classical scholars, theatre people and comic-book aficionados.

An illustrated new translation of Sophokles’ Antigone . Anne Carson has published translations of the ancient Greek poets Sappho, Simonides, Aiskhylos, Sophokles and Euripides. Antigonick is her seminal work. Sophokles’ luminous and disturbing tragedy is here given an entirely fresh language and presentation. This paperback edition includes a new preface by the author, “Dear Antigone.”

Gerion, wrażliwy skrzydlaty chłopiec o czerwonej skórze, zaczyna tworzyć swoją autobiografię, gdy ma pięć lat. Pewnego dnia, już jako zagubiony młodzieniec, natrafia na butnego włóczęgę Heraklesa. Ich spotkanie jest jak wybuch wulkanu. Istnieje wiele sposobów na opowiedzenie takiej historii – notuje Anne Carson. Jednym z nich jest grecki mit o nieustraszonym herosie oraz jego dwunastu pracach. Innym – stworzony przez poetę Stezychora poemat Gerioneida, opisujący życie skrzydlatego odmieńca, w spokoju doglądającego swej czerwonej trzody i zabitego przez gwałtownego grabieżcę, wysłannika cywilizacji. Carson sięga do antycznych historii, by opowiedzieć je na nowo: to zdumiewająco obrazowa i zarazem erudycyjna książka o zwyczajnej, po ludzku zwyczajnej, źle wybranej miłości, ale też refleksja o byciu innym. Autobiografia czerwonego jest powieścią-poematem, rozszczelniającą ramy gatunkowe i wyrastającą z praktyki przekładu literackiego, napisaną po Homerze i Stezychorze, po Emily Dickinson i Gertrude Stein – dowcipną, inteligentną, niepowtarzalną.

Gerione – quattordicenne impacciato, diverso da tutti gli altri perché la sua pelle è di colore vermiglio e ha un paio di ingombranti ali legate dietro la schiena – nasce nei frammenti di un antico poeta greco, Stesicoro, e prende forma nelle pagine di Anne Carson, tornando alla vita in un universo fatto di stazioni del pullman e vulcani, scagliato tra i versi di Emily Dickinson e Walt Whitman e l’eco delle voci di Sant’Agostino, Proust e Virginia Woolf. Giovane mostro rosso alato, Gerione prova a farsi spazio in un mondo che non è suo, si muove in una notte troppo nera e lì incontra Eracle, bello e sfrontato, di poco più grande, ma che già padroneggia le armi affilate della seduzione. Sarà lui ad accompagnarlo all’età adulta: Gerione conoscerà il sesso, il dolore, la fatica del cambiamento e la rabbia, il desiderio esasperato e la gelosia, tutte tappe di quel volo scomposto e incerto che è per ciascuno l’approssimazione all’amore. Con Autobiografia del Rosso, la pluripremiata poetessa canadese Anne Carson crea un’opera straordinaria e unica, un’opera che è insieme canto lirico e narrazione, inedita riscrittura di un mito greco e moderno romanzo di formazione.

The award-winning poet reinvents a genre in a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present. Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is.

The award-winning poet Anne Carson reinvents a genre in Autobiography of Red, a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present. Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is. "A profound love story . . . sensuous and funny, poignant, musical and tender." -- The New York Times Book Review "A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday."  -- The Village Voice A NEW YORK TIMES NOTABLE BOOK OF THE YEAR National book Critics Circle Award Finalist

“Eurípides fue un dramaturgo del siglo V A.C. que reinventó la tragedia griega, poniéndola en un camino que conduce directamente a los reality shows. Sus obras rompieron todas las reglas, derrocaron las convenciones e indignaron a los críticos conservadores. Las Bacantes es su obra más subversiva: cuenta la historia de un hombre que no puede admitir que preferiría vivir en la piel de una mujer, y un dios que parece combinar todas las sexualidades en una única ruinosa demanda de adoración. Dionisio es el dios de la intoxicación. Una vez que caes bajo su influencia, no se sabe dónde terminarás”. Anne Carson.

"One of the most interesting gatherings of material that any poet has published within living memory." -- The Economist Simone Weil described “decreation” as “undoing the creature in us” -- an undoing of self. In her first collection in five years, Anne Carson explores this idea with characteristic brilliance and a tantalizing range of reference, moving from Aphrodite to Antonioni, Demosthenes to Annie Dillard, Telemachos to Trotsky, and writing in forms as varied as opera libretto, screenplay, poem, oratorio, essay, shot list, and rapture. As she makes her way through these forms she slowly dismantles them, and in doing so seeks to move through the self, to its undoing. "Cool, resolute, smart, and lovely.... Carson has emerged in the last two decades as a kind of prophet of the unknowable." -- The Village Voice 

Longino e Woolf, Beckett e Antonioni, senza dimenticare Omero e Saffo: tutte queste figure trovano spazio in pagine che oscillano tra brevi testi lirici sull'amore filiale e una sceneggiatura in versi su Abelardo ed Eloisa, un oratorio sul tema delle armi e un libretto d'opera in lingua sperimentale che inscena la gelosia di Efesto per l'amore tra Afrodite e Ares e, infine, lunghe sezioni in prosa che intrecciano la critica letteraria all'indagine filosofica. Riprendendo la riflessione di Simone Weil, Carson contempla la nozione di decreazione come tensione a disfare la creatura che l'uomo ha dentro, racchiusa e definita dal sé.

The ancient Greek lyric poet Simonides of Keos was the first poet in the Western tradition to take money for poetic composition. From this starting point, Anne Carson launches an exploration, poetic in its own right, of the idea of poetic economy. She offers a reading of certain of Simonides' texts and aligns these with writings of the modern Romanian poet Paul Celan, a Jew and survivor of the Holocaust, whose economies of language are notorious. Asking such questions as, What is lost when words are wasted? and Who profits when words are saved? Carson reveals the two poets' striking commonalities. In Carson's view Simonides and Celan share a similar mentality or disposition toward the world, language and the work of the poet. Economy of the Unlost begins by showing how each of the two poets stands in a state of alienation between two worlds. In Simonides' case, the gift economy of fifth-century b.c. Greece was giving way to one based on money and commodities, while Celan's life spanned pre- and post-Holocaust worlds, and he himself, writing in German, became estranged from his native language. Carson goes on to consider various aspects of the two poets' techniques for coming to grips with the invisible through the visible world. A focus on the genre of the epitaph grants insights into the kinds of exchange the poets envision between the living and the dead. Assessing the impact on Simonidean composition of the material fact of inscription on stone, Carson suggests that a need for brevity influenced the exactitude and clarity of Simonides' style, and proposes a comparison with Celan's interest in the negative design of printmaking: both poets, though in different ways, employ a kind of negative image making, cutting away all that is superfluous. This book's juxtaposition of the two poets illuminates their differences--Simonides' fundamental faith in the power of the word, Celan's ultimate despair--as well as their similarities; it provides fertile ground for the virtuosic interplay of Carson's scholarship and her poetic sensibility.

¿Qué sucede cuando nos enamoramos? ¿Por qué deseamos lo que nos huye y dejamos de desearlo cuando lo alcanzamos? Fue Safo, poeta erótica y enamorada por excelencia, quien primero calificó a Eros como «dulce y amargo», subrayando el carácter paradójico del deseo. ¿Qué turbulencia interna anima el deseo, anudando placer y tormento? ¿Cómo acoge Eros esta doble naturaleza, que lo hace al mismo tiempo irresistible y pavoroso? Dos mil quinientos años después, otra poeta se propone rastrear la figura cambiante de Eros desde los pliegues ocultos del deseo: la canadiense Anne Carson se sumerge en el nacimiento de la escritura y la literatura occidental para revelarnos a Eros, desde los primeros poetas griegos a Stendhal, de Safo a Virginia Woolf, de Platón a Barthes. En este recorrido, el zarpazo del deseo se vislumbra como una estructura inestable y triangular, como un destello que nos señala nuestro propio límite y la frontera inalcanzable del otro, que libera la posibilidad y esclaviza en el tiempo, nos acerca a lo deseado y nos descubre que nunca podremos alcanzarlo. Eros atraviesa el tiempo y el espacio siendo siempre el mismo, glosado de igual manera en todos los idiomas y lugares, como flecha dulce primero y después amarga. Poeta de vanguardia, Carson obvia los tópicos sobre cómo se escribe un ensayo y construye con su investigación una obra brillante, apasionada y extrañamente íntima. Eros: poética del deseo es una bellísima lección magistral sobre la naturaleza erótica de la poesía y la escritura, una reflexión rigurosa acerca de la esencia poética del deseo y un ejercicio de estilo deslumbrante que revela cómo la lectura y la escritura son también actos eróticos.

A book about love as seen by the ancients, Eros is Anne Carson's exploration of the concept of "eros" in both classical philosophy and literature. Beginning with: "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her. What does the word mean?", Carson examines her subject from numerous points of view and styles, transcending the constraints of the scholarly exercise for an evocative and lyrical meditation in the tradition of William Carlos William's Spring and All and William H. Gass's On Being Blue.

«Quando io ti desidero, una parte di me non c'è più: la voglia di te mi consuma. Quando io ti desidero, una parte di me non c'è più: la tua mancanza è la mia mancanza». Anne Carson ritorna in libreria con un'originale meditazione sul tema del desiderio, croce e delizia della donna e dell'uomo. In trentaquattro capitoli snelli e seducenti, l'autrice instaura un dialogo con alcuni dei maggiori autori della letteratura classica, a partire da Saffo, proseguendo con i tragici greci e Catullo, per poi passare al romanzo ellenistico e infine a Platone, in un confronto costante con le migliori penne della modernità, da Dante a Virginia Woolf, da Nietzsche a Italo Calvino, passando per Kafka. «L'eros è sempre una storia in cui a interagire sono l'amante, l'amato e la differenza tra i due», sostiene Carson. Il libro è perciò una metafora sull'amore come esperienza conoscitiva fondamentale nella vita e una riflessione profonda sul desiderio e le relazioni umane.

Eros, o doce-amargo, livro referencial de Anne Carson, uma das mais celebradas autoras da atualidade, chega finalmente ao Brasil apresentando um panorama das leituras sobre o amor, da Grécia antiga à literatura moderna. Anne Carson, uma das mais premiadas e admiradas autoras da atualidade, é conhecida por esgarçar as linhas que definem os gêneros literários. Eros, o doce-amargo é o seu primeiro livro de crítica literária, resultado de sua tese de doutorado, e se tornou um clássico, mesclando ensaio, teoria e poesia. “Safo foi a primeira a chamar Eros de ‘doce-amargo’. Ninguém que já se apaixonou discorda. O que significa essa palavra?”, se pergunta Anne Carson. A resposta é a investigação que a ensaísta e poeta canadense empreende nesta obra, perscrutando o conceito de “eros” a partir da Grécia antiga e evocando referências da poesia, filosofia, literatura, história e psicanálise ao longo dos séculos. Assim, Carson produz um panorama sobre as interpretações do amor, analisando em uma abordagem ao mesmo tempo profunda e espirituosa o caráter duplo e ambíguo do sentimento erótico. “A doçura de Eros é inseparável da sua amargura, e cada qual participa, de uma maneira ainda não óbvia, da nossa vontade humana por conhecimento. Parece haver alguma semelhança entre o modo como Eros age na mente de quem ama e o modo como o conhecimento age na mente de quem pensa."- Anne Carson

A book about love as seen by the ancients, Eros is Anne Carson's exploration of the concept of "eros" in both classical philosophy and literature. Beginning with: "It was Sappho who first called eros 'bittersweet.' No one who has been in love disputes her. What does the word mean?", Carson examines her subject from numerous points of view and styles, transcending the constraints of the scholarly exercise for an evocative and lyrical meditation in the tradition of William Carlos William's Spring and All and William H. Gass's On Being Blue.

The insights presented in the volume are many and wide-ranging, recognizably in tune with the subtlest modern discussions of desire (such as triangulation. or loving what others love), yet offering new solutions to old problems, like the proper interpretation of Plato's Phaedrus. On the frequently discussed effect of literacy on Greek civilization, the book offers a fresh view: it was no accident that the poets who invented Eros were also the first readers and writers of the Western literate tradition. Originally published in 1986. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

“Estas paradoxais Falas Curtas, ao mesmo tempo íntimas e distantes, de gênero indefinível (prosa, poesia, confissão), servirão de garantia para a presença definitiva de Anne Carson entre nós, após O Método Albertine, (Jabuticaba, 2017) e Autobiografia em Vermelho, (34 Letras, 2021). Os três livros ecoam no leitor desde o início, porém agora somos chamados diretamente para o jogo. “Quem é você?”, ouvimos na última Fala Curta. Mas já estávamos presentes, claro! Junto a Seurat, Parmênides e Brigitte Bardot, igualmente ao lado de uma infinidade de intelectuais. Todos presentes. Além de uma senhora autista e de Ovídio, chorando no exílio político. Impossível infelizmente incluir aqui todos os personagens do livro. Desta vez Carson escreve uma Introdução, contendo um método de pesquisa. Perguntando a todos e anotando tudo o que ouve, ela procura saber como surgiram as palavras. Antigamente “havia estrelas mas palavras não”. Como assim? Mas ela não quer compor uma história, o que seria um tédio, mas seguir “rastros e vestígios” daquele instante único da natureza. Entretanto, desde o começo surgem problemas: as três velhas – fugidas do mito? – nada sabem além do trabalho braçal; os poetas confundem até mesmo nomes de flores; três homens invadem a cena, trancam a cadeado os 53 fascículos da pesquisa, embora ela esconda 3. Antes de partir eles a aconselham a “imitar um espelho como o da água”, mas ela sabe que a água não é um espelho. Com isso aprende que a razão é perigosa. “Preciso tomar cuidado com o que escrevo”. Além disso, uma certeza se impõe: apesar das exigências de Aristóteles quanto à criação, ela se pergunta: ”de que serve uma história que não contenha dragões venenosos”? Creio que a Introdução pode servir de mapa à ficção de Anne Carson, analisando o caminho da imaginação trilhado nestas Falas Curtas. Pois não é verdade que até a proposta da escritora é imaginária? Tratar do aparecimento da palavra conduz à relação entre pensamento e linguagem, isto é, problemas que a linguística não ousa abordar. Minha proposta ao leitor é a de buscar “dragões venenosos” nas histórias relacionadas, em sua maioria, a pessoas reais, a começar pela Fala Curta sobre a Sensação na Decolagem do Avião. A ironia certamente não pode faltar.” Texto de orelha de Vilma Arêas

From the renowned classicist and MacArthur Prize winner: a new collection that explores myth and memory, beauty and loss, all the while playing with—and pushing—the limits of language and form. Anne Carson consistently dazzles with her inventive, shape-shifting work and the vividness of her imagination. Float reaches an even greater level of brilliance and surprise. Presented in an arrestingly original format--individual chapbooks that can be read in any order, and that float inside a transparent case--this collection conjures a mix of voices, time periods, and structures to explore what makes people, memories, and stories "maddeningly attractive" when observed in spaces that are suggestively in-between. One can begin with Carson contemplating Proust on a frozen Icelandic plain, or on the art-saturated streets of downtown New York City. Or journey to the peak of Mount Olympus, where Zeus ponders his own afterlife. Or find a chorus of Gertrude Steins performing an essay about falling--a piece that also unearths poignant memories of Carson's own father and great-uncle in rural Canada. And a poem called "Wildly Constant" piercingly explores the highs and lows of marriage and monogamy, distilled in a wife's waking up her husband from the darkness of night, and asking him to make them eggs for breakfast. Exquisite, heartbreaking, disarmingly funny, Float kaleidoscopically illuminates the uncanny magic that comes with letting go of expectations and boundaries. It is Carson's most intellectually electrifying, emotionally engaging book to date.

Anne Carson' s first full-length publication in Britain, Glass and God introduces an assured and challenging new voice: vivid, laconic, precise. Her 'Short Talks' are about everything from Sylvia Plath to Franz Kafka, from waterproofing to walking backwards; the brilliant long poem 'The Glass Essay' deals with the end of a contemporary love affair, but is haunted by the Brontë sisters. Blending the modern and the classical, Anne Carson writes with an intensity and an integrity that is transfiguring.

Known as a remarkable classicist, Anne Carson weaves contemporary and ancient poetic strands with stunning style in Glass, Irony and God. This collection includes: "The Glass Essay," a powerful poem about the end of a love affair, told in the context of Carson's reading of the Brontë sisters; "Book of Isaiah," a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome," about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.

Writing with a pitch and heat that gets to the heart of the unforgiving classical world, Carson, a poet and classicist, translates four of the eighteen surviving plays by Euripides. Includes Heracles, Hecuba, Hippolytus, Alcestis.

A gorgeous facsimile edition (reminiscent of her classic book-in-a-box, Nox ), H of H Playbook is a stunning re-creation of Euripides’s famous play, with illustrations by the author H of H Playbook is an explosion of thought, in drawings and language, about a Greek tragedy called Herakles by the 5th-century BC poet Euripides. In myth Herakles is an embodiment of manly violence who returns home after years of making war on enemies and monsters (his famous “Labors of Herakles”) to find he cannot adapt himself to a life of peacetime domesticity. He goes berserk and murders his whole family. Suicide is his next idea. Amazingly, this does not happen. Due to the intervention of his friend Theseus, Herakles comes to believe he is not, after all, indelibly stained by his own crimes, nor is his life without value. It remains for the reader to judge this redemptive outcome.       “I think there is no such thing as an innocent landscape,” said Anselm Kiefer, painter of forests grown tall on bones.

La belleza del marido, el primer libro que se publica en España de la canadiense Anne Carson, es una de las más originales y turbadoras manifestaciones de la poesía de nuestros días. Subtitulado «un ensayo narrativo en 29 tangos», este libro inclasificable cuenta la historia de un matrimonio en torno a la idea de Keats «beauty is truth», belleza es verdad. A lo largo de estos 29 tangos -un tango, como el matrimonio, es algo que uno tiene que bailar hasta el final-, Anne Carson, considerada ya un clásico vivo de las letras anglosajonas, nos introduce en la historia íntima de un matrimonio que se desmorona. Iluminador, a menudo brutal, conmovedor y oscuramente divertido, este libro nos deslumbra con escenas, diálogos y reflexiones que ahondan en la más vieja de las preocupaciones poéticas -el amor- como si fuera la primera vez que se expresa.

Anne Carson has been acclaimed by her peers as the most imaginative poet writing today. In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure. In Men in the Off Hours , Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality, Men in the Off Hours shows us a fiercely individual poet at her best.

Norma Jeane Baker of Troy is a partly spoken, partly sung performance piece by poet, essayist, and scholar Anne Carson, and an exploration of the lives and myths of Marilyn Monroe and Helen of Troy—iconic beauties who lived millennia apart. A thrilling and thoughtful meditation on the destabilising and destructive power of beauty, this had its world premiere at The Shed in New York City, starring Ben Whishaw and Renée Fleming.

Anne Carson’s haunting and beautiful Nox is her first book of poetry in five years―a unique, illustrated, accordion-fold-out “book in a box.” Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus “for his brother who died in the Troad.” Nox is a work of poetry, but arrives as a fascinating and unique physical object. Carson pasted old letters, family photos, collages and sketches on pages. The poems, typed on a computer, were added to this illustrated “book” creating a visual and reading experience so amazing as to open up our concept of poetry. 50 color and black-and-white prints

The poetry and prose collected in Plainwater are a testament to the extraordinary imagination of Anne Carson, a writer described by Michael Ondaatje as "the most exciting poet writing in English today." Succinct and astonishingly beautiful, these pieces stretch the boundaries of language and literary form, while juxtaposing classical and modern traditions. Carson envisions a present-day interview with a seventh-century BC poet, and offers miniature lectures on topics as varied as orchids and Ovid. She imagines the muse of a fifteenth-century painter attending a phenomenology conference in Italy. She constructs verbal photographs of a series of mysterious towns, and takes us on a pilgrimage in pursuit of the elusive and intimate anthropology of water. Blending the rhythm and vivid metaphor of poetry with the discursive nature of the essay, the writings in Plainwater dazzle us with their invention and enlighten us with their erudition.

Some years ago I wrote a book about a boy named Geryon who was red and had wings and fell in love with Herakles. Recently I began to wonder what happened to them in later life. Red Doc > continues their adventures in a very different style and with changed names. To live past the end of your myth is a perilous thing.

Poetry. Deluxe redesign of the two-time Griffin Award winner's first poetry collection. On the occasion of the press's 40th anniversary, Brick Books is proud to present the first of six new editions of classic books from our back catalogue. New material includes a foreword by the poet Margaret Christakos, a "Short Talk on Afterwords" by Carson herself, and cover art and design by the renowned typographer Robert Bringhurst. First issued in 1992, SHORT TALKS is Carson's first and only collection of poems published with an independent Canadian press. It announced the arrival of a profound, elegiac and biting new voice. SHORT TALKS can comfortably stand alongside Carson's other bestselling and award-winning works. The renowned ancient Greek scholar's first book beautifully reprinted on amazing paper, with an extra "short talk" on afterwords functioning as the afterword. Sometimes humorous, other times eerie, these prose poems range in topic from waterproofing to Gertrude Stein at 9:30 at night the most fascinating micro lectures you'll ever attend. Nobody has not bought this book after opening it. Open Books Indie Recommend"

The Albertine Workout contains fifty-nine paragraphs, with appendices, summarizing Anne Carson's research on Albertine, the principal love interest of Marcel in Proust's À la recherche du temps perdu.

A NEW YORK TIMES NOTABLE BOOK OF THE YEARNational book Critics Circle Award Finalist "Anne Carson is, for me, the most exciting poet writing in English today."--Michael Ondaatje "This book is amazing--I haven't discovered any writing in years so marvelously disturbing." --Alice Munro The award-winning poet Anne Carson reinvents a genre in Autobiography of Red, a stunning work that is both a novel and a poem, both an unconventional re-creation of an ancient Greek myth and a wholly original coming-of-age story set in the present. Geryon, a young boy who is also a winged red monster, reveals the volcanic terrain of his fragile, tormented soul in an autobiography he begins at the age of five. As he grows older, Geryon escapes his abusive brother and affectionate but ineffectual mother, finding solace behind the lens of his camera and in the arms of a young man named Herakles, a cavalier drifter who leaves him at the peak of infatuation. When Herakles reappears years later, Geryon confronts again the pain of his desire and embarks on a journey that will unleash his creative imagination to its fullest extent. By turns whimsical and haunting, erudite and accessible, richly layered and deceptively simple, Autobiography of Red is a profoundly moving portrait of an artist coming to terms with the fantastic accident of who he is. "A profound love story . . . sensuous and funny, poignant, musical and tender."--The New York Times Book Review "A deeply odd and immensely engaging book. . . . [Carson] exposes with passionate force the mythic underlying the explosive everyday." --The Village Voice

The Beauty Of The Husband is an essay on Keats’s idea that beauty is truth, and is also the story of a marriage. It is told in 29 tangos. A tango (like a marriage) is something you have to dance to the end. This clear-eyed, brutal, moving, darkly funny book tells a single story in an immediate, accessible voice–29 “tangos” of narrative verse that take us vividly through erotic, painful, and heartbreaking scenes from a long-time marriage that falls apart. Only award-winning poet Anne Carson could create a work that takes on the oldest of lyrical subjects–love–and make it this powerful, this fresh, this devastating.

The Blue of Distance , published to accompany a group exhibition at the Aspen Art Museum, is a reflection on the color blue's uncanny relationship to absence, desire and distance. Featuring photography, drawing, sculpture and sound by the artists Vija Celmins, Jason Dodge, Félix González-Torres, Roni Horn, Marie Jager, Catherine Opie, Paul Ramirez Jonas, Cy Twombly and Cerith Wyn Evans, the publication explores the blue at the far edge of what can be seen, the color of the horizon, the ocean and the immaterial. Weaving together a larger narrative about the distance between us and the objects of our desire, the catalogue includes an essay by Courtenay Finn, an excerpt from Rebecca Solnit's A Field Guide to Getting Lost and a new piece by Anne Carson.

Human history is filled with unacceptable sounds: high-pitched voices, gossip, talkativeness, hysteria, wailing and ritual shouts. Who makes them? Those deviant from or deficient in the masculine ideal of self-control: women, catamites, eunuchs and androgynes all fall into this category. From the myths of antiquity to Margaret Thatcher via Sigmund Freud and Gertrude Stein, The Gender of Sound charts the gendering of sound in Western culture. Carson invites us to listen again, and in doing so to reimagine our conceptions of human order, virtue and selfhood. Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death.

https://www.poetryfoundation.org/poems/48636/the-glass-essay Anne Carson, “The Glass Essay” from Glass, Irony, and God. Copyright © 1994 by Anne Carson. Used by permission of New Directions Publishing Corporation.

Here is a new comic-book version of Euripides’s classic The Trojan Women, which follows the fates of Hekabe, Andromache, and Kassandra after Troy has been sacked and all its men killed. This collaboration between the visual artist Rosanna Bruno and the poet and classicist Anne Carson attempts to give a genuine representation of how human beings are affected by warfare. Therefore, all the characters take the form of animals (except Kassandra, whose mind is in another world).

Here is a new comic-book version of Euripides’s classic The Trojan Women, which follows the fates of Hekabe, Andromache, and Kassandra after Troy has been sacked and all its men killed. This collaboration between the visual artist Rosanna Bruno and the poet and classicist Anne Carson attempts to give a genuine representation of how human beings are affected by warfare. Therefore, all the characters take the form of animals (except Kassandra, whose mind is in another world).

"Tipos de agua. El Camino de Santiago" es un largo ensayo escrito a manera de diario donde la autora va anotando lo que del paisaje le parece notable, para trasladarlo a su interioridad. Pretexto que la afianza como una revelación en el campo de la introspección poética con imágenes que eleva a alturas insospechadas. Todo viaje es una conversación llena de peligros, una conversación que necesariamente ha de ser compleja. De aquí que Tipos de agua se transforme en la descripción del peregrino que avanza mirando hacia atrás y dentro de sí, sintiendo el desencanto de la separación y, aun así, avanzando pues lo que se empieza, a pesar del dolor implícito del viaje, debe tener un fin, y ese fin en ella es Finisterre.

El silencio es tan importante como las palabras en la práctica y el estudio de la traducción. Esto puede sonar cliché (creo que es un cliché. Tal vez podamos volver al cliché). Hay dos tipos de silencio que inquietan a una traductora: el silencio físico y el metafísico. El silencio físico sucede, digamos, cuando estás mirando un poema de Safo inscrito en un papiro de hace dos mil años que ha sido rasgado por la mitad. La mitad del poema es espacio vacío. Una traductora puede representar o incluso corregir esta falta de texto de varias maneras –con espacios en blanco o paréntesis o conjeturas textuales– y está bien que lo haga así porque Safo no pretendía que esa parte del poema quedara en silencio. El silencio metafísico sucede al interior de las palabras mismas. Y sus intenciones son más difíciles de definir.

As with her most recent publications, Wrong Norma is a facsimile edition of the original hand-designed book, drawn and annotated by the author. Several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. Anne Carson is probably our most celebrated living poet, winner of countless awards and routinely tipped for the Nobel Prize in Literature. Famously reticent, asking that her books be published without cover copy, she has agreed to say this: “Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget’s Thesaurus, my Dad, Saturday night, Sokrates, writing sonnets, forensics, encounters with lovers, the word ‘idea’, the feet of Jesus, and Russian thugs. The pieces are not linked. That’s why I’ve called them ‘wrong’.”