Divine Madness
"Cal . . . wants to move back in with me into our old apartment on 67th Street across from Central Park. It's where we lived for most of the twenty-one years of our marriage until he left me for Caroline. It's where I've lived for the past seven years without Cal." Cal is purportedly Robert Lowell, the sixth Poet Laureate of the United States, and the speaker, "Lizzie," is Elizabeth Hardwick, a writer and critic whose true-life partnership with Lowell was marked by his mental illness and desertion. Yet award-winning playwright Lynne Kaufman's spare, poetic novel is far deeper-and more disturbing-than a harrowing account of a famously unhappy marriage. As the fictional "manuscript" progresses, Lizzie's persona of humiliated, martyred wife gradually dissolves into a rich labyrinth of references-from her friendships with Mary McCarthy and Hannah Arendt to her memories of the Civil Rights movement and her Southern childhood, from the Holocaust to King Lear-that may (or may not) illuminate the complex dynamics of attachment. In this enigmatic deconstruction of an age-old tragedy, Kaufman has composed an intriguing and intense elegy that marks the shadowlands where fiction, reality, and writerly personas converge.
PRP: 86.80 Lei
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78.12Lei
78.12Lei
86.80 LeiPrimești 78 puncte
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Descrierea produsului
"Cal . . . wants to move back in with me into our old apartment on 67th Street across from Central Park. It's where we lived for most of the twenty-one years of our marriage until he left me for Caroline. It's where I've lived for the past seven years without Cal." Cal is purportedly Robert Lowell, the sixth Poet Laureate of the United States, and the speaker, "Lizzie," is Elizabeth Hardwick, a writer and critic whose true-life partnership with Lowell was marked by his mental illness and desertion. Yet award-winning playwright Lynne Kaufman's spare, poetic novel is far deeper-and more disturbing-than a harrowing account of a famously unhappy marriage. As the fictional "manuscript" progresses, Lizzie's persona of humiliated, martyred wife gradually dissolves into a rich labyrinth of references-from her friendships with Mary McCarthy and Hannah Arendt to her memories of the Civil Rights movement and her Southern childhood, from the Holocaust to King Lear-that may (or may not) illuminate the complex dynamics of attachment. In this enigmatic deconstruction of an age-old tragedy, Kaufman has composed an intriguing and intense elegy that marks the shadowlands where fiction, reality, and writerly personas converge.
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