Bøger af Anna Kavan

Dag for dag, time for time, sekund for sekund rykker isen nærmere, fryser alt på sin vej, dækker landskabet med sne. Overalt er der krig. Gennem denne ødelagte verden forfølger en mand en bleg, skrøbelig, sølvhåret pige på evig flugt i en stadig mere hallucinatorisk og uvirkelig jagt. Is er en drøm fortalt i en krystallinsk prosa.Den er blevet læst som feministisk og postapokalyptisk science fiction, katastroferoman, roman nouveau, koldkrigsthriller og allegori over forfatterens eget heroinmisbrug, men er først og fremmest højst uvirkelig. Den regnes for Anna Kavans hovedværk og er en moderne britisk klassiker.

"Men jeg kunne ikke lade være med at føle et vist ubehag, når jeg stirrede på græsmarken, draget af en slags ubehagelig fascination ved at kigge på de svingende marionetdukket, som var umenneskeliggjort af den mellemliggende afstand og af deres egne ekstraordinære forvrængninger. På mig virkede det som om, at de blev mere og mere torturerede, efterhånden som solen gik, ned som om en rasende fart inspirerede seglenes vilde ukoordinerede sving, mens græssets grønne lyste nærmest selvlysende op mod tusmørket".

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In this haunting and surreal novel, the narrator and a man known as 'the warden' search for an elusive girl in a frozen, seemingly post-nuclear, apocalyptic landscape. The country has been invaded and is being governed by a secret organisation. There is destruction everywhere; great walls of ice overrun the world. Together with the narrator, the reader is swept into a hallucinatory quest for this strange and fragile creature with albino hair. Acclaimed by Brian Aldiss on its publication in 1967 as the best science fiction book of the year, this extraordinary and innovative novel has subsequently been recognised as a major work of literature in its own right.

This collection of Anna Kavan's short fiction and journalism marks fifty years since her death in 1968. From moving portraits of clinical depression to phantasmagoric visions of sci-fi wonder the writings collected in Machines in the Head offer an accessible introduction to, and a timely survey of, Kavan's diverse writing talents for her fans.

The Parson was not published in Anna Kavan's lifetime, but found after her death in manuscript form. Thought to have been written between the mid 50s and early 60s, it presages, through its undertones and imagery, some of Kavan's last and most enduring fiction (such as Ice). It was published finally, to wide acclaim, by Peter Owen in 1995. The Parson of the title is not a cleric, but an upright young army officer so nicknamed for his apparent prudishness. On leave in his native homeland, he meets a rich and beguiling beauty, the woman of his dreams. The days that the Parson spends with Rejane, riding in and exploring the wild moorland have their own enchantment. But Rejane grows restless in this desolate land; doubtless in love with the Parson, she discourages any intimacy. Until that is, she persuades him to take her to a sinister castle situated on a treacherous headland . . . The Parson is less a tale of unrequited love than exploration of divided selves, momentarily locked in an unequal embrace. Passion is revealed as a play of the senses as well as a destructive force. There have been valid comparisons to Poe, Kafka and Thomas Hardy, but the presence of her trademark themes, cleverly juxtaposed and set in her risktaking prose, mark The Parson as 100% Kavan.

largely autobiographical account of an unhappy childhood, Sleep Has His House startled with its strangeness in 1948. Today it is one of Anna Kavan's most acclaimed books. A daring synthesis of memoir and surrealist experimentation, Sleep Has His House charts chronologically the stages of the subject's gradual withdrawal from all interest in and contact with the daylight world of received reality. Brief flashes of daily experience from childhood, adolescence and youth are described in what Kavan terms 'nighttime language' - a heightened, decorative prose that frees these events from their gloomy associations. The novel suggests we have all spoken this dialect in childhood and in our dreams, but these thoughts can only be sharpened, or decoded by contemplation in the dark. Anna Kavan maintained that the plot of a book is only the point of departure, beyond which she tries to reveal that side of life which is never seen by the waking eye, but which dreams and drugs can suddenly illuminate. She spent the last ten years of her life literally and metaphorically shutting out the light; the startling discovery of Sleep has His House is how much these nighttime illuminations reveal her joy for the living world.

First published in 1945, the stories collected under the title I Am Lazarus are a brilliant summation of the war experiences of Anna Kavan in Blitz-era London, working among invalided soldiers at a 'military neurosis centre' in Mill Hill. Kavan's view of the capital and some of its war victims in this momentous era are typically original and oblique: 'Lazarus' is a patient revived from catatonia who somehow remains institutionalized; the Blitz spirit is coolly stripped of cheeriness and never-say-die in 'Glorious Boys and 'Our City'; there is a Hithcockian horror story in 'The Gannets', while in 'Who Has Desired The Sea' and 'The Blackout' the 'shell-shocked' have ultimately only seen war exacerbate old, long-suppressed psychological wounds. Chilling but compassionate classics, the I Am Lazarus collection, republished now after many years, are essential documents of the time - and of Anna Kavan.

Peter Owen Publishers are proud to announce the publication of a previously unpublished novel.Set in an unspecified but eerily familiar time and landscape, Guilty is narrated by Mark. He begins the novel as a young boy whose father has just returned from war. In spite of being garlanded as a hero, Mark's father declares himself a pacifist and is immediately reviled in a country still suffering from the divisions of war. When his father is forced into exile Mark meets Mr Spector, a shady figure who from then on is a dominant force in Mark's life, seeing him through his schooling, employment and even finding him accommodation. When Mark tries to break off with Mr Spector in order to pursue an engagement with the beautiful but docile Carla his life begins to unravel. Thwarted at every turn by a Kafkaesque bureaucracy he begins to fall prey to the machinations and insecurities of his guilt-ridden mind.