Showing results by author "Deborah Levy" in All Categories

Blending personal history, gender politics, philosophy, and literary theory into a luminescent treatise on writing, love, and loss, Things I Don't Want to Know is Deborah Levy's witty response to George Orwell's influential essay "Why I Write." Orwell identified four reasons he was driven to hammer at his typewriter - political purpose, historical impulse, sheer egoism, and aesthetic enthusiasm - and Levy's work riffs on these same commitments from a female writer's perspective.

Following the international critical acclaim of The Cost of Living, this final volume of Deborah Levy's Living Autobiography is an exhilarating, thought-provoking and boldly intimate meditation on home and the spectres that haunt it.

At the height of her career, the piano virtuoso Elsa M. Anderson—former child prodigy, now in her thirties—walks off the stage in Vienna, mid-performance. Now she is in Athens, watching an uncannily familiar woman purchase a pair of mechanical dancing horses at a flea market. Elsa wants the horses too, but there are no more for sale. She drifts to the ferry port, on the run from her talent and her history. So begins her journey across Europe, shadowed by the elusive woman who seems to be her double.

"Three bicycles. Seven ghosts. A crumbling apartment block on the hill. Fame. Tenderness. The statue of Peter Pan. Silk. Melancholy. The banana tree. A love story." Virginia Woolf wrote that in order to be a writer, a woman needs a room of one's own. Now, in Real Estate, acclaimed author Deborah Levy concludes her groundbreaking trilogy of living autobiographies with an exhilarating, boldly intimate meditation on home and the specters that haunt it.

The Cost of Living explores the subtle erasure of women's names, spaces, and stories in the modern everyday. In this "living autobiography" infused with warmth and humor, Deborah Levy critiques the roles that society assigns to us and reflects on the politics of breaking with the usual gendered rituals. What does it cost a woman to unsettle old boundaries and collapse the social hierarchies that make her a minor character in a world not arranged to her advantage?

Penguin presents the unabridged, downloadable audiobook edition of Hot Milk by Deborah Levy, read by Romola Garai. Two strangers arrive in a small Spanish fishing village. The older woman is suffering from mysterious paralysis, driven to seek a cure beyond the bounds of conventional medicine. Her daughter, Sofia, has spent years playing the reluctant detective in this mystery, struggling to understand her mother's illness.

As he arrives with his family at the villa in the hills above Nice, Joe sees a body in the swimming pool. But the girl is very much alive. She is Kitty Finch: a self-proclaimed botanist with green-painted fingernails, walking naked out of the water and into the heart of their holiday. Why is she there? What does she want from them all? And why does Joe's enigmatic wife allow her to remain? A subversively brilliant study of love, Swimming Home reveals how the most devastating secrets are the ones we keep from ourselves.

It is 1988 and Saul Adler, a narcissistic young historian, has been invited to Communist East Berlin to do research; in exchange, he must publish a favorable essay about the German Democratic Republic. As a gift for his translator's sister, a Beatles fanatic who will be his host, Saul's girlfriend will shoot a photograph of him standing in the crosswalk on Abbey Road, an homage to the famous album cover. As he waits for her to arrive, he is grazed by an oncoming car, which changes the trajectory of his life.

Sofia, a young anthropologist, has spent much of her life trying to solve the mystery of her mother's unexplainable illness. She is frustrated with Rose and her constant complaints, but utterly relieved to be called to abandon her own disappointing fledgling adult life. She and her mother travel to the searing, arid coast of southern Spain to see a famous consultant - their very last chance - in the hope that he might cure her unpredictable limb paralysis. But Dr. Gomez has strange methods that seem to have little to do with physical medicine.

22 writers talk about their memorable excursions and the act of walking, and share their creative observations. In these six series, taken from BBC Radio 3's The Essay, an array of novelists, poets, journalists and biographers chart the varied and inspiring walks they have taken around Britain and elsewhere. Here are treks taken at daybreak and after dark; in winter and in spring; in the footsteps of the past; and - in the case of Robert Macfarlane - along the ridges of the South Downs.

Picking up where Things I Don't Want to Know left off, this short, exhilarating memoir shows a writer in radical flux, facing separation and bereavement and emerging renewed from the ashes of a former life. Faced with the restrictions of conventional living, she dismantles her life, expands it and puts it back together in a new shape. Writing as brilliantly as ever about mothers and daughters, about social pressures and the female experience, Deborah Levy confronts a world not designed to accommodate difficult women and ultimately remakes herself in her own image.

In The Position of Spoons, Deborah Levy invites the listener into the interiors of her world, sharing her most intimate thoughts and experiences, as she traces and measures her life against the backdrop of the literary and artistic muses that have shaped her. From Marguerite Duras to Colette and Ballard, and from Lee Miller to Francesca Woodman and Paula Rego, we can relish here the richness of their work and, in turn the richness of the author’s own.

In 1989, Saul is hit by a car on the Abbey Rd crossing. He is fine; he gets up and goes to see his girlfriend, Jennifer. They have sex and then break up. He leaves for the GDR, where he will have more sex, bury his dead father in a matchbox, and get on the wrong side of the Stasi. In 2016, Saul is hit by a car on the Abbey Rd crossing. He is not fine at all; he is rushed to hospital and spends the following days in and out of consciousness. Jennifer is sitting by his bedside. His very-much-not-dead father is sitting by his bedside. Someone important is missing.

Things I Don't Want to Know is the first in Deborah Levy's essential three-part 'Living Autobiography' on writing and womanhood. Taking George Orwell's famous essay 'Why I Write' as a jumping-off point, Deborah Levy offers her own indispensable reflections of the writing life.

Deborah Levy’s vital literary voice speaks about many things. On footwear: “It has always been very clear to me that people who wear shoes without socks are destined to become my friends and lovers.” On public parks: “A civic garden square gentles the pace of the city that surrounds it, holding a thought before it scrambles.” Levy shares with us her most tender thoughts as she traces and measures her life against the backdrop of different literary imaginations.

Elsa M. Anderson is a classical piano virtuoso. In a flea market in Athens, she watches an enigmatic woman buy two mechanical dancing horses. Is it possible that the woman who is so enchanted with the horses is her living double? Is she also looking for reasons to live? Chasing their doubles across Europe, the two women grapple with their preconceived conceptions of the world and each other, culminating in a final encounter in a fateful summer rainstorm.

The image is instant. It whirs out of the camera, and they all watch it develop in silence. "Here." He gives the photograph to the perfect, flawless woman without looking at it, by way of apology. When everyone gathers around Luciana to admire it, Gustav clicks again. The unloved look brave. The unloved look heavier than the loved. Their eyes are sadder, but their thoughts are clearer. They are not concerned with pleasing or affirming their loved one's point of view. The unloved look preoccupied.

Penguin presents the audiobook edition of Swimming Home by Deborah Levy, read by Sophie Ward. A poet, his wife, her daughter and their friends arrive at the French Riviera. The prospect of a long hot summer stretches ahead of them. At their villa, they find a body in the swimming pool. But this body is very much alive. It is Kitty Finch: self-proclaimed botanist with lurid green fingernails, avid poetry fan, walking naked out of the water and straight into the centre of their holiday. Why is she there? What does she want from them?

When Andrée joins her school, Sylvie is immediately fascinated. Andrée is small for her age, but walks with the confidence of an adult. Under her red coat, she hides terrible burn scars, and when she imagines beautiful things, she gets goosebumps. Secretly Sylvie believes that Andrée is a prodigy about whom books will be written. The girls become close. They talk for hours about equality, justice, war and religion; they lose respect for their teachers; they build a world of their own. But they can't stay like this forever.

The relationship between sleep and storytelling is an ancient one. For centuries sleep has provided writers with a magical ingredient, a passage of time during which great changes miraculously occur, an Orpheus-like voyage through the subconscious daubed with the fantastic. But over the last 10 years, our scientific understanding of sleep has been revolutionised. No longer is sleep viewed as a time of simple rest and recuperation. Instead it is proving to be an intensely dynamic period of brain activity.