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Robin Robertson (2) (1955–)

Autor(a) de The Long Take: Or a Way to Lose More Slowly

Para outros autores com o nome Robin Robertson, veja a página de desambiguação.

14+ Works 951 Membros 24 Reviews 1 Favorited

About the Author

Raised on the northeast coast of Scotland, Robin Robertson is a highly acclaimed poet and editor. His poems have appeared in the New Yorker, the Times Literary Supplement, Grand Street, the London Review of Books, and other publications. He lives in London
Image credit: Robin Robertson (2) Editor of "Mortification-Writers’ Stories of their Public Shame"

Obras de Robin Robertson

Swithering (2006) 84 cópias
The Wrecking Light (2010) 67 cópias
A Painted Field (1997) 60 cópias
Hill of Doors (2013) 40 cópias
Slow air (2002) 36 cópias
Grimoire (2020) 27 cópias
Firebird 3 : writing today (1984) 3 cópias
Camera Obscura (1996) 2 cópias

Associated Works

Poetry 180: A Turning Back to Poetry (2003) — Contribuinte — 765 cópias
180 More: Extraordinary Poems for Every Day (2005) — Contribuinte — 361 cópias
After Ovid: New Metamorphoses (1994) — Contribuinte — 153 cópias
Granta 119: Britain (2012) — Contribuinte — 109 cópias
The Deleted World (2006) — Tradutor — 92 cópias

Etiquetado

Conhecimento Comum

Nome padrão
Robertson, Robin
Data de nascimento
1955
Sexo
male
Nacionalidade
Scotland
Local de nascimento
Scone, Perthshire, Scotland
Locais de residência
London, England, UK
Aberdeen, Scotland, UK
Ocupação
poet
translator
editor
Premiações
Fellow, Royal Society of Literature

Membros

Resenhas

A long poem in love with its own noirity that substitutes modern sensibility and language for that of the post WWII decade and expects us to accept that. I didn't. A lost soul condemning itself to a slow decline in the dark side of LA's self-remake of the 1950s, it makes its points but however much the Scott gets LA it's the tinsel town LA he's got.
1 vote
Marcado
quondame | outras 15 resenhas | Sep 6, 2021 |
Faulkner meeting Steinbeck, meeting Döblin…
Nope, not my cup of tea. I recognized the story of the unsettling return of a World War II veteran, incapable of finding his way back to normal life, traumatized by what he saw back in Normandy in 1944. And I recognized the evocation of America at the end of the 40’s and the beginning of the ’50s, with its scores of homeless people, and its tremendous violence between criminal gangs.
But then there’s the connection between the horrible war scenes, the brutal scenes of demolition of neighbourhoods in Los Angeles, and the description of mutilated victims of gang violence. In contrast there are the very intense and intimate nature descriptions. Is Robertson suggesting the violence in all these actions are on the same level? And is he hinting towards a meta-level of criticism on the violence of modernity? It’s positive he doesn’t suggest clear answers, but – as a reader – I’m a bit at a loss.
Robertson poetic prose reminded me of the feverish style of Alfred Döblin in Berlin Alexanderplatz, the modernist disruptive style of William Faulkner and the social focus of John Steinbeck. But – to me – this combination didn’t really work, at least in this first read. Perhaps I ought to try a reread.
… (mais)
 
Marcado
bookomaniac | outras 15 resenhas | Jul 19, 2020 |
Een bijzondere tot poëzie geworden roman, spelend in de USA van eind jaren '40 tot begin '50, in NY, LA, SF. De hoofdpersoon, Walker (!) uit Canada, Nova Scotia, is getraumatiseerd door WO II waar hij bij de inval op D-Day meedeed. Hij kan niet meer terug naar zijn idyllische vader;land en jeugdliefde, maar moet zwerven door het Amerika van de film noir, van Mc Carthy, van de economische boom, die wonen opoffert aan parkeren en de daklozen en mislukten achterlaat als schuim op het strand. Walker zelf vindt een plaats bij de krant (hoofdredacteur Overton, het grootste Amerikaanse Roggewhiskey-merk; de ambitieuze Pyke die ooit de krant wel zal overnemen is het symbool van het ambitieuze gevoelloze Amerika) en schrijft er over de daklozen, drinkt, ontmoet mensen als schepen in de nacht. Prachtig, gevoelvol, creatief vertaald door Hans Kloos, genomineerd voor de Filter VertaalPrijs 2020. Maar er is wel een bezwaar tegen het boek, dat is de zeer topografische en cinematografische focus van het verhaal: het zit stampvol namen van acteurs, regisseurs en filmtitels die mij weinig zeggen, en ook stampvol straatnamen en andere locale aanduidingen in de 3 steden die me ook niets zeggen.. Er staan wel wat noten in, maar dat hadden er beter geen of 10maal zoveel kunnen zijn. Toch kan ik wel over die onbekendheden heenlezen en mensen zouden dat ook moeten doen als het gaat om antieke en mythologische eigennamen, zodat die niet voortdurend hoeven te worden geannotterd door vertalers-classici.… (mais)
 
Marcado
Harm-Jan | outras 15 resenhas | May 19, 2020 |
Poetry is extremely personal and requires very selective reading. It also means you must be willing to discard many poems to find the few that you really like. In that sense reading poetry is like visiting a picture gallery. Look at many at a glance, focus on few and prize the exceptional.
½
 
Marcado
edwinbcn | outras 2 resenhas | Feb 19, 2020 |

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Neal Barnard Foreword
Eva Kampmann Translator

Estatísticas

Obras
14
Also by
5
Membros
951
Popularidade
#27,067
Avaliação
3.8
Resenhas
24
ISBNs
188
Idiomas
7
Favorito
1

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