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77 kirjaa tekijältä Robert Walser
Dressed in his cheap, battered suit, Joseph Marti arrives at the impressive villa of Karl Tobler, an enthusiastic but ill-starred inventor, to begin employment as his clerk. Tobler is determined to finance his family’s lavish lifestyle with the proceeds from his latest idea – a clock adorned with advertisements. But Tobler’s grand plans are destined for failure and the household, including Marti, refuse to acknowledge their approaching ruin. Robert Walser claimed to have written The Assistant, a semi-autobiographical work, in just six weeks as an entry for a literary competition. The second of his few surviving novels, it is now regarded as major work of modernist literature.
Drawing from contemporary journalism, reviews, program notes, memoirs, interviews, and other sources, Keeping Time lets you experience, first hand, the controversies and critical issues that have accompanied jazz from its very birth. Edited by Robert Walser, these sixty-two thought provoking pieces offer a wealth of insight into jazz. Some of the giants of jazz speak to us here, including Jelly Roll Morton, Billie Holiday, Charles Mingus and Wynton Marsalis. And there are pieces by writers such as Langston Hughes, Norman Mailer, and Ralph Ellison, and by critics such as Leonard Feather and Gunther Schuller. Readers will find Louis Armstrong on what makes swing, Dizzy Gillespie on bebop, and Miles Davis on jazz-rock fusion. Equally important, Walser has selected writings that capture the passionate reactions of people who have loved, hated, supported, and argued about jazz. One can read, for instance, a dismissive article written in 1918 that relegates jazz to the "servant's hall of music" along with "the clatter of the clogs, the click of Slavic heels." Or a debate between Wynton Marsalis and Herbie Hancock over the merits of free jazz and electric instruments. Or Duke Ellington's claim that jazz is neither highbrow nor lowbrow, but "goes back to something just about as old-and as natural-as the circulation of the blood." In the end, the focus here remains on how the music works and why people have cared about it. Filled with passionately felt, insightful writing, Keeping Time will increase one's historical awareness of jazz even as it provokes lively discussion among jazz aficionados, whether in clubs, concert halls or classrooms.
Born in Switzerland in 1878, Robert Walser worked as a bank clerk, a butler in a castle, and an inventor's assistant before discovering what William H. Gass calls his "true profession." From 1899 until he was misdiagnosed a schizophrenic and hospitalized in 1933, Walser produced nine novels and more than a thousand short stories and prose pieces. Walser's contemporary admirers were few but well-placed. They included Franz Kafka, Hermann Hesse, Robert Musil, and Walter Benjamin. Today Robert Walser is widely regarded as one of the most important and original literary voices of the twentieth century. In "Masquerade" and Other Stories, Susan Bernofsky presents a representative selection of Walser's work, from his first published fiction to the stately prose of the last years before his voice vanished forever behind the asylum walls. Written between 1899 and 1933, these 64 sketches, scenes, stories, and wanderings through landscapes and dreamscapes are characterized by startling, skewed comparisons, warpings of syntax, vagaries of perspective, and a delight in contradiction. Quirky, playful, and sometimes bizarre, Walser's texts were unconventional by the standards of the early twentieth century. They are still innovative in the context of today's fiction.
The Robber, Robert Walser's last novel, tells the story of a dreamer on a journey of self-discovery. It is a hybrid of love story, tragedy, and farce, with a protagonist who sweet-talks teaspoons, flirts with important politicians, plays maidservant to young boys, and uses a passerby's mouth as an ashtray. Walser's novel spoofs the stiff-upper-lipped European petit bourgeois and its nervous reactions to whatever threatens the stability of its worldview.
The Swiss writer of whom Hermann Hesse famously declared, "If he had a hundred thousand readers, the world would be a better place," Robert Walser (1878–1956) is only now finding an audience among English-speaking readers commensurate with his merits—if not with his self-image. After a wandering, precarious life during which he produced poems, essays, stories, and novels, Walser entered an insane asylum, saying, "I am not here to write, but to be mad." Many of the unpublished works he left were in fact written in an idiosyncratically abbreviated script that was for years dismissed as an impenetrable private cipher. Fourteen texts from these so-called pencil manuscripts are included in this volume—rich evidence that Walser's microscripts, rather than the work of incipient madness, were in actuality the product of desperate genius building a last reserve, and as such, a treasure in modern literature. With a brisk preface and a chronology of Walser's life and work, this collection of fifty translations of short prose pieces covers the middle to later years of the writer's oeuvre. It provides unparalleled insight into Walser's creative process, along with a unique opportunity to experience the unfolding of his rare and eccentric gift. His novels The Robber (Nebraska 2000) and Jakob von Gunten are also available in English translation.
In a small, exquisite clothbound format resembling the early Swiss and German editions of Walser’s work, Thirty Poems collects famed translator Christopher Middleton’s favorite poems from the more than five hundred Walser wrote. The illustrations range from an early poem in perfect copperplate handwriting, to one from a 1927 Czech-German newspaper, to a microscript.
Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper, covered with tiny ant-like pencil markings a millimeter high, came to light only after the author’s death in 1956.At first considered random restless pencil markings or a secret code, the microscripts were in time discovered to be a radically miniaturized form of antique German script: a whole story was deciphered on the back of a business card. These twenty-five short pieces address schnapps, rotten husbands, small town life, elegant jaunts, the radio, swine, jealousy, and marriage proposals.
Fairy Tales gathers the unconventional verse dramolettes of the Swiss writer Robert Walser. Narrated in Walser's inimitable, playful language, these theatrical pieces overturn traditional notions of the fairy tale, transforming the Brothers Grimm into metatheater, even metareflections. Snow White forgives the evil queen for trying to kill her, Cinderella doubts her prince and enjoys being hated by her evil stepsisters; the Fairy Tale itself is a character who encourages her to stay within the confines of the story. Sleeping Beauty, the royal family, and its retainers are not happy about being woken from their sleep by an absurd, unpretentious, Walser-like hero. Mary and Joseph are taken aback by what lies in store for their baby Jesus.
A beautiful and elegant collection, with gorgeous full-color art reproductions, Looking at Pictures presents a little-known side of the eccentric Swiss genius: his great writings on art. His essays consider Van Gogh, Cezanne, Rembrandt, Cranach, Watteau, Fragonard, Brueghel and his own brother Karl and also discuss general topics such as the character of the artist and of the dilettante as well as the differences between painters and poets. Every piece is marked by Walser’s unique eye, his delicate sensitivity, and his very particular sensibilities—and all are touched by his magic screwball wit.
Few writers have ever experienced such a steady rise in their reputation and public profile as Swiss writer Robert Walser (1878-1956) has seen in recent years. As more of his previously little known work has been translated into English, readers have discovered a unique writer whose off-kilter sensibility and innovations in form are perfectly suited to our fragmented, distracted, bewildered era. This book brings English-language readers work by Walser in yet another form: dramolette. The short plays presented here, inspired by the German theater Walser enjoyed in his youth, while never meant to be performed, present scenes, characters, and situations that comment on the brutality of fairy tales, the impossibilities of love, the dark fate of the Christ child (and Walser himself), and more. At the same time, like all of Walser's work they are shot through with a humor that is wholly genuine despite its shades of darkness. Gathering all of Walser's plays, as well as his later, fragmentary dramatic writings, Comedies will be celebrated by the many devoted fans of this lately rediscovered master.
The Swiss writer Robert Walser is one of the quiet geniuses of twentieth-century literature. Largely self-taught and altogether indifferent to worldly success, Walser wrote a range of short stories, essays, as well as four novels, of which "Jakob von Gunten" is widely recognized as the finest. The book is a young man's inquisitive and irreverent account of life in what turns out to be the most uncanny of schools. It is the work of an outsider artist, a writer of uncompromising originality and disconcerting humor, whose beautiful sentences have the simplicity and strangeness of a painting by Henri Rousseau.
The Battle of Sempach: A Story
Robert Walser
Createspace Independent Publishing Platform
2014
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The Battle of Sempach A Story
Robert Walser
Createspace Independent Publishing Platform
2015
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A New York Review Books Original In 1905 the young Swiss writer Robert Walser arrived in Berlin to join his older brother Karl, already an important stage-set designer, and immediately threw himself into the vibrant social and cultural life of the city. Berlin Stories collects his alternately celebratory, droll, and satirical observations on every aspect of the bustling German capital, from its theaters, cabarets, painters' galleries, and literary salons, to the metropolitan street, markets, the Tiergarten, rapid-service restaurants, and the electric tram. Originally appearing in literary magazines as well as the feuilleton sections of newspapers, the early stories are characterized by a joyous urgency and the generosity of an unconventional guide. Later pieces take the form of more personal reflections on the writing process, memories, and character studies. All are full of counter-intuitive images and vignettes of startling clarity, showcasing a unique talent for whom no detail was trivial, at grips with a city diving headlong into modernity.