The first collection by Sweden's foremost contemporary playwright NIGHT OF THE TRIBADES (1975) centres around the triangular relationship between August Strindberg, the actress Marie Caroline David and Siri von Essen. It has been translated into twenty languages including a short run on Broadway. THE IMAGE MAKERS (1998) deals with Selma Lagerlof's father and his alcoholism whilst THE RAIN MAKERS is a fascinating study of Hans Christian Anderson. THE HOUR OF THE LYNX: "Enquist's play, feelingly translated from the Swedish offers a profound exploration of spirituality, love and faith within a text that is grippingly dramatic, unfailingly absorbing and often upliftingly lyrical." "At a time when young writers were looking for new forms of literary expression, Enquist settled for an investigative style, and attempt to reconstruct events reported to have happened, but where the truth is often too inaccessible... it was a style that was to remain Enquist's literary landmark characterising both his novels and his plays" Contemporary World Authors ed. Tracey Chevalier
When everything began so well, how could it turn out so badly? A blisteringly frank autobiographical novel by Sweden's great man of letters - for readers of K. O. Knausgaard's My Struggle. "Some life. Some novel . . . Wonderful, brave, evocative . . . It is a remarkable story, and Enquist is remarkably frank in narrating every last detail" Herald What was it about Hjoggböle, a farming village in the northernmost part of Sweden, that created so many idiots - and writers? There was nothing to indicate that P.O. Enquist would be stricken by an addiction to writing. Nothing in his family - honest, hardworking people. Not a trace of poetry. And yet he worked his way, via journalism, novels and plays, to the centre of Swedish politics and cultural life. His books garnered prize after prize. His plays ran for decades and premiered on Broadway. Why then, living with a new wife in Paris, does he hole up in their palatial Champes-Élysées apartment, talking only to his cat? How is it that he wakes to find himself in an uncoupled carriage on a railway siding in Hamburg, two - or was it three? - days after the first-night party finished? And what is it that drives him to run shoeless through the deep January snow of an Icelandic plain, leaving the lights of the drying out clinic far behind? Narrating in the third person, as if he were merely a character in the eventful, perplexing and ultimately triumphantly redemptive drama of his own life, P.O. Enquist is as elliptical as Karl Ove Knausgaard is exhaustive. Clear-eyed, rueful, written with elegance and humour, this is the singular story of a remarkable man.
Fascinating and dream-like, this compelling tale for children by Per Olov Enquist tells the story of Mina, who wakes up one night to find that a crocodile has bitten her on the bottom. Her tired parents don't recognise the seriousness of the situation, but Mina's Grandpa knows what to do. He takes Mina, her sister and their cousins on a dangerous journey up Three Cave Mountain. What they find there will leave them changed forever. Offering a sweet and original glimpse into the mind of a perky and irrepressible child, Grandfather and the Wolves will thrill younger and older readers alike.
The first collection by Sweden's foremost contemporary playwright NIGHT OF THE TRIBADES (1975) centres around the triangular relationship between August Strindberg, the actress Marie Caroline David and Siri von Essen. It has been translated into twenty languages including a short run on Broadway. THE IMAGE MAKERS (1998) deals with Selma Lagerlof's father and his alcoholism whilst THE RAIN MAKERS is a fascinating study of Hans Christian Anderson. THE HOUR OF THE LYNX: "Enquist's play, feelingly translated from the Swedish offers a profound exploration of spirituality, love and faith within a text that is grippingly dramatic, unfailingly absorbing and often upliftingly lyrical." "At a time when young writers were looking for new forms of literary expression, Enquist settled for an investigative style, and attempt to reconstruct events reported to have happened, but where the truth is often too inaccessible... it was a style that was to remain Enquist's literary landmark characterising both his novels and his plays" Contemporary World Authors ed. Tracey Chevalier
Una obra sueca, original, sobre los límites de la condición humana, el amor, la compasión... Su protagonista es un monstruo de feria con dos cabezas que consiguen comunicarse telepáticamente. La crítica internacional la ha calificado de obra chocante, conmovedora, terrorífica y que obliga al lector a leer una y otra vez.
When everything began so well, how could it turn out so badly? A blisteringly frank autobiographical novel by Sweden's great man of letters - for readers of K. O. Knausgaard's My Struggle. "Some life. Some novel . . . Wonderful, brave, evocative . . . It is a remarkable story, and Enquist is remarkably frank in narrating every last detail" Herald What was it about Hjoggböle, a farming village in the northernmost part of Sweden, that created so many idiots - and writers? There was nothing to indicate that P.O. Enquist would be stricken by an addiction to writing. Nothing in his family - honest, hardworking people. Not a trace of poetry. And yet he worked his way, via journalism, novels and plays, to the centre of Swedish politics and cultural life. His books garnered prize after prize. His plays ran for decades and premiered on Broadway. Why then, living with a new wife in Paris, does he hole up in their palatial Champes-Élysées apartment, talking only to his cat? How is it that he wakes to find himself in an uncoupled carriage on a railway siding in Hamburg, two - or was it three? - days after the first-night party finished? And what is it that drives him to run shoeless through the deep January snow of an Icelandic plain, leaving the lights of the drying out clinic far behind? Narrating in the third person, as if he were merely a character in the eventful, perplexing and ultimately triumphantly redemptive drama of his own life, P.O. Enquist is as elliptical as Karl Ove Knausgaard is exhaustive. Clear-eyed, rueful, written with elegance and humour, this is the singular story of a remarkable man.
The love that dare not speak its name . . ." Sweden, 1949. A boy of 15, cutting across a garden, chances upon a woman of 51. What ensues is cataclysmic, life-altering. All the more because it cannot be spoken of. Can it never be spoken of? Looking back in late old age at an encounter that transformed him suddenly yet utterly, P.O. Enquist, a titan of Swedish letters, has decided to "come out" - but in ways entirely novel and unexpected. He has written the book that smoldered unwritten within him his entire life. The book he had always seen as the one he could not write. This poignant memoir of love as a religious experience - as a modern form of the Resurrection - is also a deeply felt reflection on the transitoriness of friendship, the fraught nature of family relationships, and the importance of giving voice to what cannot be forgotten. A parable as hauntingly intense as any Bergman film. Translated from the Swedish by Deborah Bragan-Turner
From one of the world's most acclaimed authors comes a tale that explores the complex relationship between Blanche Whitman, the famous hysteria patient of Professor J. M. Charcot and Marie Curie, Polish physicist and Nobel Prize winner.
The love that dare not speak its name . . ." Sweden, 1949. A boy of 15, cutting across a garden, chances upon a woman of 51. What ensues is cataclysmic, life-altering. All the more because it cannot be spoken of. Can it never be spoken of? Looking back in late old age at an encounter that transformed him suddenly yet utterly, P.O. Enquist, a titan of Swedish letters, has decided to "come out" - but in ways entirely novel and unexpected. He has written the book that smoldered unwritten within him his entire life. The book he had always seen as the one he could not write. This poignant memoir of love as a religious experience - as a modern form of the Resurrection - is also a deeply felt reflection on the transitoriness of friendship, the fraught nature of family relationships, and the importance of giving voice to what cannot be forgotten. A parable as hauntingly intense as any Bergman film. Translated from the Swedish by Deborah Bragan-Turner
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