Bøger af Lisa Robertson

The debut novel by acclaimed poet Lisa Robertson, in which a poet realizes she's written the works of Baudelaire.

From the author of The Baudelaire Fractal, a poetry classic, with new workIn 2004, boldly original poet Lisa Robertson published a chapbook, Rousseau's Boat, poems culled from years of notebooks that are, nevertheless, by no means autobiographical. In 2010, she expanded the work into a full-length book, R's Boat. During the pandemic, she was drawn back into decades of journals to shape Boat. These poems bring fresh vehemence to Robertson's ongoing examination of the changing shape of feminism, the male-dominated philosophical tradition, the daily forms of discourse, and the possibilities of language itself."e;Robertson has quietly but surely emerged as one of our most exciting and prolific philosophers-I mean poets. Interested in architecture, weather systems, fashion, autobiography, gender, the classics, and just about everything else, she manages to irradiate her subjects with calm, wit, and astonishing beauty. Robertson's style is both on splendid display and under fierce interrogation in her latest book, R's Boat."e; Kenyon Review"e;In R's Boat, Robertson has penned a post-conceptual, post-lyric, relentlessly self-examining performance of memory and sincerity that manages, remarkably, to be both theoretically concerned and deeply emotive."e; Harvard Review"e;R's Boat grapples with form, the constraint of language and tradition, and the challenge to avoid anything that might exist as template. The poems examine feminism, discourse, the body, and poetry itself through sumptuous, seductive language."e; American Poets

Poetry. Lisa Robertson's latest book of poetry is a work that will be both familiar and fresh to anyone who has read her acclaimed work. THE MEN explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in THE MEN. At once intimate and oblique, humorous and heartbreaking, composed and furious, THE MEN seeks to defamiliarize both who, and what, men are. "In THE MEN, as in much of her work, Robertson makes intellect seductive; only her poetry could turn swooning into a critical gesture"--Village Voice. "Robertson writes both from within and against the tradition-splitting, seeding, and suturing the cracks in each ideational edifice.... Her occupations with past forms lead not to a backward-looking poetry but forward to a fresh field of inquiry, an imaginatively created utopia"--Boston Review.

Nilling is a sequence of 6 loosely linked prose essays about noise, pornography, the codex, melancholy, Lucretius, folds, cities and related aporias: in short, these are essays on reading. Lisa Robertson applies an acute eye to the subject of reading and writingtwo elemental forces that, she suggests, cannot be separated.For Robertson, a book is an intimacy, and with keen and insightful language, Nilling's essays builds into a lively yet close conversation with Robertson's "e;masters"e;: past writers, philosophers, and idealists who have guided her reading (and writing) practice to this point.If "e;a reader is a beginner,"e; then even regular readers of Robertson's kind of deep thinking will delight in the infinite folding together of conceptsthe codex, pornography, melancholy, citiesthat on their own may seem banal, but in their twisting intertextuality, make for a scintillating study of reading as a deep engagement.

This book brings together a range of new models for modern living that emerged in response to social and economic changes in nineteenth-century London, and the literature that gave expression to their novelty.

The debut novel by acclaimed poet Lisa Robertson, in which a poet realizes she's written the works of Baudelaire.

Pompoms, blackberries and Value Village: Take a stroll through the thoughts of one of Canada's most intriguing poets and thinkers.

A New York Times 100 Notable Book and longlisted for the Warwick Writing Prize, Lisa Robertson's Magenta Soul Whip collects occasional works written over the past fifteen years, turning vestige into architecture, chagrin into resplendence. In them, we recognize our grand, saddened century.

"e;Robertson proves hard to explain but easy to enjoy. . . . Dauntlessly and resourcefully intellectual, Robertson can also be playful or blunt. . . . She wields language expertly, even beautifully."e;The New York TimesWhat if the cinema of the present were a Mbius strip of language, a montage of statements and questions sutured together and gradually accumulating color? Would the seams afford a new sensibility around the pronoun "e;you"e;? Would the precise words of philosophy, fashion, books, architecture, and history animate a new vision, gestural and oblique? Is the kinetic pronoun cinema?These and other questions are answered in the new collection from acclaimed poet and essayist Lisa Robertson. The dazzling new collection will feature three different back covers (designed by artists Hadley + Maxwell).A quorum of crows will be your witness.And if you discover you were bought?You note the smell of rain, bread, and exhaust mixed with tiredness.And if you yourself are incompatible with your view of the world?And what is the subject but a stitching?Once again you are the one who promotes artifice.At 2 am on Friday, you burn with a maudlin premonition.And rankings and rankings and badges and repetitions.Lisa Robertson's book Lisa Robertson's Magenta Soul Whip was named one of the New York Times 100 Notable Books of 2010 and was longlisted for the 2011 Warwick Prize. Her other books include Debbie: An Epic, The Men, The Weather, and Occasional Work and Seven Walks from the Office for Soft Architecture. She is the 2014 Bain Swiggett Professor at Princeton University.