Richard Holmes (biographe) Un article de Wikipédia, l'encyclopédie libre. Pour les articles homonymes, voir Holmes. Richard Holmes Richard Holmes, né le à Londres, est un biographe britannique spécialisé dans la période romantique au Royaume-Uni et en France. Parmi ses biographies les plus importantes figurent Shelley: The Pursuit, qui a obtenu le prix Somerset-Maugham ; Coleridge: Early Visions, lauréat en 1989 du Whitbread Book of the Year Prize (prix Costa) ; Coleridge: Darker Reflections, second volume de sa biographie de Coleridge, lui a valu le Duff Cooper Prize et le Heinemann Award. Son Dr. Richard Holmes est aussi l'auteur d'un essai sur Thomas Chatterton et d'une introduction aux œuvres de Mary Wollstonecraft et de William Godwin. Ouvrages édités par Richard Holmes (Classic Biographies Series, HarperPerennial) The Age of Wonder Portail de la littérature britannique
Heroines | Heroines was published by Semiotext(e)’s Active Agents series in November 2012.Distributed by MIT Press. On the last day of December, 2009 Kate Zambreno began a blog called Frances Farmer Is My Sister, arising from her obsession with the female modernists and her recent transplantation to Akron, Ohio, where her husband held a university job. Widely reposted, Zambreno’s blog became an outlet for her highly informed and passionate rants about the fates of the modernist “wives and mistresses.” In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. “The writing in Heroines is sharp, visceral, self-avowedly furious, often brilliant…” Jerome Boyd Maunsell, Times Literary Supplement “Zambreno doesn’t write with the measured voice of someone who can count on being listened to, but with the wail of someone confined to a shed.” – Sheila Heti, London Review of Books “I found Heroines so brave & thrilling & agitating.” Maisonneuve
Librarian Nancy Pearl's 2009 Under-The-Radar Books My Heroine: Lovesong for a Blog | Very Literary: A community blog For someone hooked up to Thou, the world may have seemed a kind of half-finished sentence.- Anne Carson, "the Glass Essay" Talking about someone, even in a loving way, can be fatiguing, the way receiving good news can still be draining. After experiencing a particularly severe episode of something like Holly Golightly's mean reds, a query of mine was answered promisingly: an editor I admired wanted to see my portfolio. Kate Zambreno has a new book coming out this winter from Semiotext(e) called Heroines, a critical memoire, and I am freaking out. In college, in my technically junior year, I committed myself to studying writing, a decision about which I was still of ninety-nine beclouded minds. I started reading Frances Farmer Is My Sister. See also:Kate Zambreno in conversation with Kate Durbin at Her KindKate Zambreno in conversation with Edith Zimmerman at the HairpinKate Zambreno is asked: What is Experimental Literature?
What is Experimental Literature? {Five Questions: Kate Zambreno} Kate Zambreno is the author of O Fallen Angel, which won Chiasmus Press’ “Undoing the Novel—First Book Contest.” Another novel, Green Girl, will be published by Emergency Press in Fall 2011. A nonfiction book revolving around the women of modernism, Heroines, will be published by Semiotext(e)’s Active Agents series in Fall 2012. Question #1 Experimental writing, as a category or concept, seems fraught with widespread confusion and misunderstanding. When I once tried to explain to someone that my first book coming out—O Fallen Angel—was a work of “experimental literature”—he was like “You mean like a tree is really a person?” But in the 20th century up to now—since modernism—literature has been experimental and has engaged with and broken with the past. Question #2 Again, isn’t this what process is? Question #3 In his book About Writing, Samuel Delany suggests that many writers (himself included) “no longer see experimental writing as a way to deal with [crisis] aesthetically” (226).
Heroine Worship: Talking with Kate Zambreno , Christopher Higgs Kate Zambreno’s first book, O Fallen Angel, won Chiasmus Press’s “Undoing the Novel” First Book Contest, and her second book, Green Girl, was a finalist for the Starcherone Innovative Fiction Prize. So it should come as no surprise that her provocative new work, Heroines, published by Semiotext(e)’s Active Agents imprint next month, challenges easy categorization, this time by poetically swerving in and out of memoir, diary, fiction, literary history, criticism, and theory. With equal parts unabashed pathos and exceptional intelligence, Heroines foregrounds female subjectivity to produce an impressive and original work that examines the suppression of various female modernists in relation to Zambreno’s own complicated position as a writer and a wife. What was it about the modernist wives that first interested you? I think I came to the wives through an initial discovery of more neglected modernist women writers—Olive Moore, Anna Kavan, Jane Bowles, maybe I’d add Jean Rhys to that list.