Oates Joyce Carol Скачать все книги 5 Количество книг

«Le hipnotizará y le conmoverá… Un libro más dolorosamente autorrevelador de lo que la Oates novelista o crítica se haya atrevido a publicar jamás.» – Ann Hulbert, The New York Times Book Review

En una mañana gris de febrero, Joyce Carol Oates llevó a su marido Raymond Smith a urgencias aquejado de una neumonía; una semana después, ciertas complicaciones terminaban con su vida. Estas deslumbrantes páginas capturan el estado emocional de Oates tras la repentina muerte de su marido, y cómo se ve obligada a hallar su equilibrio sin la alianza que la había sostenido durante cuarenta y siete años y veinticinco días.

Llenas de agudas reflexiones y, a veces, de humor negro, estas Memorias de una viuda narran también una conmovedora historia de amor, lírica, moral e implacable, como las que pueblan sus novelas, y ofrecen un inédito retrato de su intimidad, hasta ahora celosamente guardada.

«Impecable… No cometa el error de pasar por alto este libro; simplemente, es demasiado bueno para perdérselo.» – Dave Moyer, The New York Journal of Books

«Sorprendente… Periodística e intuitiva, emocional y reflexiva… Oates comenzó escribiendo el diario de una viuda, y lo que ha logrado es la historia de un matrimonio.» – Geeta Sharma Jensen, The Milwaukee Journal-Sentinel

«Oates pertenece a la vieja estirpe de Poe, Borges, Kafka, Cortázar o Chéjov…» – Ángeles López, Qué Leer

«Una novela maravillosamente escrita y muy conmovedora… Una compra valiosa para el lector de memorias y, en especial, para los más mayores.» – Library Journal

«Oates escribe con una honestidad visceral y no ceja en obligar a sus lectores a las conjeturas al respecto de su próxima y estremecedora empresa.» – Kirkus Reviews

«Las memorias de Oates se unirán a Antonia Fraser y Joan Didion en la sección de obras esenciales sobre la pérdida.» – The Daily Beast

«Tiene tanto de retrato de un matrimonio único como de crónica del duelo… Inmensamente conmovedora.» – Kim Hubbard, People Magazine

«Tan cautivadora como dolorosa… un relato desgarrador… Esta posibilidad que Oates ofrece al lector de experimentar la muerte de Smith del mismo y dramático modo en que lo hizo ella es algo muy característico del excelente equilibrio de la autora entre lo intelectual y lo emocional.» – Valerie Sayers, The Washington Post

Situada en la mítica ciudad de Sparta, en Nueva York, Ave del paraíso es una punzante y vívida combinación de romance erótico y violencia trágica en la Norteamérica de finales del siglo XX. Cuando Zoe Kruller, una joven esposa y madre, aparece brutalmente asesinada, la policía de Sparta se centra en dos principales sospechosos, su marido, Delray, del que estaba separada, y su amante desde hace tiempo, Eddy Diehl. Mientras tanto, el hijo de los Kruller, Aaron, y la hija de Eddy, Krista, adquieren una mutua obsesión, y cada uno cree que el padre del otro es culpable. Una clásica novela de Oates, autora también de La hija del sepulturero, Mamá, Infiel, Puro fuego y Un jardín de poderes terrenales, en la que el lirismo del intenso amor sexual está entrelazado con la angustia de la pérdida y es difícil diferenciar la ternura de la crueldad

In her bewitching 30th novel, I'll Take You There, Joyce Carol Oates returns again to neurotic female post-adolescence. The unnamed narrator attends an upstate New York university in the early 1960s. In those times of tightly prescribed femininity, she joins a sorority in a bald attempt to become part of the sisterhood of normalcy. It doesn't work. She reads philosophy, she works for a living, she's asexual, she's an orphan, she's a Jew: "I was a freak in the midst of their stunning, stampeding, blazing female normality." Booted from the sorority, she falls hard for a thirtyish black philosophy student who seems to her to live on a higher plane than the rest of humanity. In the final section, she is called west to the deathbed of someone she thought was lost to her forever. Oates brings together some of her strongest trademark qualities: She writes her character's life as though it were a fairy tale. She sells her material, bringing dramatic tension to the very first page: "They would claim I destroyed Mrs. Thayer… Yet others would claim that Mrs. Thayer destroyed me." And she writes with tender care about the intellectual life of her young protagonist. Some find Oates's obsession with nascent womanhood claustrophobic, but in this heroine she finds a vein of integrity and intellectual probity peculiar to those who are not quite adult. Most writers treat college life as comedy or romance. Oates, on the other hand, seriously explores an age when we are most terribly ourselves. She seems to find something deeply human and pleasingly dramatic in this time wedged between childhood and adulthood.

In 1936 the Schwarts, an immigrant family desperate to escape Nazi Germany, settle in a small town in upstate New York, where the father, a former high school teacher, is demeaned by the only job he can get: gravedigger and cemetery caretaker. After local prejudice and the family's own emotional frailty result in unspeakable tragedy, the gravedigger's daughter, Rebecca, begins her astonishing pilgrimage into America, an odyssey of erotic risk and imaginative daring, ingenious self-invention, and, in the end, a bittersweet-but very "American"-triumph. "You are born here, they will not hurt you"-so the gravedigger has predicted for his daughter, which will turn out to be true.

In The Gravedigger's Daughter, Oates has created a masterpiece of domestic yet mythic realism, at once emotionally engaging and intellectually provocative: an intimately observed testimony to the resilience of the individual to set beside such predecessors as The Falls, Blonde, and We Were the Mulvaneys.

Oates's latest collection explores certain favorite Oatesian themes, primary among them violence, loss, and privilege. Three of the stories feature white, upper-class, educated widows whose sheltered married lives have left them unprepared for life alone. In «Pumpkin-Head» and «Sourland», the widows-Hadley in the first story, Sophie in the second-encounter a class of Oatesian male: predatory, needy lurkers just out of prosperity's reach. In the first story, our lurker is Anton Kruppe, a Central European immigrant and vague acquaintance of Hadley whose frustrations boil over in a disastrous way. In the second story, Sophie is contacted by Jeremiah, an old friend of her late husband, and eventually visits him in middle-of-nowhere northern Minnesota, where she discovers, too late, his true intentions. The third widow story, «Probate», concerns Adrienne Myer's surreal visit to the courthouse to register her late husband's will, but Oates has other plans for Adrienne, who is soon lost in a warped bureaucratic funhouse worthy of Kafka. Oates's fiction has the curious, morbid draw of a flaming car wreck. It's a testament to Oates's talent that she can nearly always force the reader to look.