Bøger af Leonora Carrington

In English for the first time, a wild and darkly funny book that combines Surrealist painter Leonora Carringon''s fantastical writing and illustrations for childrenThe maverick surrealist Leonora Carrington was an extraordinary painter and storyteller who loved to make up stories and draw pictures for her children. She lived much of her life in Mexico, and her sons remember sitting in a big room whose walls were covered with images of wondrous creatures, towering mountains, and ferocious vegetation while she told fabulous and funny tales. That room was later whitewashed, but some of its wonders were preserved in the little notebook that Carrington called  The Milk of Dreams.  John, who has wings for ears, Humbert the Beautiful, an insufferable kid who befriends a crocodile and grows more insufferable yet, and the awesome Janzamajoria are all to be encountered in The Milk of Dreams, a book that is as unlikely, outrageous, and dreamy as dreams themselves.

One of the first things ninety-two-year-old Marian Leatherby overhears when she is given an ornate hearing trumpet is her family plotting to commit her to an institution. Soon, she finds herself trapped in a sinister retirement home, where the elderly must inhabit buildings shaped like igloos and birthday cakes.

”Set i dette lys er klassikeren Hørerøret en efterkrigs-, efternuklear vision, der runger langt ind i vores globalt opvarmede tidsalder. En genudgivelse kunne ikke være kommet på et bedre tidspunkt … En af det 20. århundredes mest originale, frydefulde, tilfredsstillende og stilfærdigt visionære romaner.” Ali Smith. HØRERØRET (udgivet første gang i 1974) er en vildt fabulerende humoristisk historie om 92-årige Marian Leatherby, der bliver tvunget på plejehjem af sin søn og svigerdatter. På plejehjemmet bor de gamle i små huse af form som fx en iglo og en lagkage og bliver konstant ydmyget af forstanderparret. I spisesalen hænger et maleri af en abedisse, som pirrer Marians nysgerrighed, og da hun får fingre i en bog om abedissens liv, tager historien en surrealistisk drejning. Leonora Carrington (1917-2011) var født i en velhavende familie i det nordvestlige England, men gjorde oprør og tog til London for at gå på kunstskole. Her mødte hun Max Ernst, som hun fik et forhold til, og sammen flyttede de til Paris, hvor hun blev en del af den surrealistiske bevægelse omkring André Breton. Da nazisterne invaderede Frankrig, blev Max Ernst som tysk statsborger interneret, og Leonora Carrington flygtede først til Spanien, derfra til New York og videre til Mexico, hvor hun boede resten af sit liv.

Ancient Mesopotamia, the Zodiac, and the land of the dead feature in this wildly surrealistic adventure story—Leonora Carrington’s revolutionary second novel, long out of print.The Stone Door is an omen, an incantation, and an adventure story rolled into one. Built in layers like a puzzle box, it is the tale of two people, of love and the Zodiac and the Kabbalah, of Transylvania and Mesopotamia converging at the Caucasus, of a mad Hungarian King named Böles Kilary and of a woman’s discovery of an initiatory code that leads to a Cyclopean obstacle, to love, self and awareness, to the great stone door of Kescke and beyond.Written at the end of World War II but not published until 1977 and long unavailable, The Stone Door is at once a celebration of the union of Carrington and her husband, the Hungarian-born photographer Chiki Weisz, and an argument for the unification of the male and the female as a means of liberating the human race.

Revelation serves as the catalogue for the first retrospective in Spain dedicated to Leonora Carrington (Clayton-le-Woods, United Kingdom, 1917-Mexico City, 2011). A versatile and eclectic artist, continually in search of new forms of expression, she is a key figure in forming a more complete picture of 20th-century art. Ahead of her time in her concern for ecology and women's rights, the Anglo-Mexican artist Leonora Carrington (1917-2011), a key figure of the 20th century Surrealist movement, draws us into a world full of awe and wonder where magic and protest are embedded into every detail. Rebelling against convention, authority and her own heritage, Carrington created fascinating stories of transformation. Her work brims with artistic experiments, occult absurdities and a dark, ironic humour that broadens our understanding of the world. From her alchemical cooking and surrealist writings to her fantastical paintings and drawings "crafted" with ingredients such as a severe feminist critique of oppressive power and a loving care for nature and all its living creatures.

Fiction. Surrealist writer and painter Leonora Carrington (1917-2011) was a master of the macabre, of gorgeous tableaus, biting satire, roguish comedy, and brilliant, effortless flights of the imagination. Nowhere are these qualities more ingeniously brought together than in the works of short fiction she wrote throughout her life. Published to coincide with the centennial of her birth, THE COMPLETE STORIES OF LEONORA CARRINGTON collects for the first time all of her stories, including several never before seen in print. With a startling range of styles, subjects, and even languages (several of the stories are translated from French or Spanish), THE COMPLETE STORIES captures the genius and irrepressible spirit of an amazing artist's life.

In this first complete edition of Leonora Carrington's short stories, written throughout her life from her early years in Surrealist Paris to her late period in Dirty War-era Mexico City, the world is by turns subversive, funny, sly, wise and disarming.

A stunning work of memoir and an unforgettable depiction of the brilliance and madness by one of Surrealism''s most compelling figuresIn 1937 Leonora Carrington—later to become one of the twentieth century’s great painters of the weird, the alarming, and the wild—was a nineteen-year-old art student in London, beautiful and unapologetically rebellious. At a dinner party, she met the artist Max Ernst. The two fell in love and soon departed to live and paint together in a farmhouse in Provence.  In 1940, the invading German army arrested Ernst and sent him to a concentration camp. Carrington suffered a psychotic break. She wept for hours. Her stomach became “the mirror of the earth”—of all worlds in a hostile universe—and she tried to purify the evil by compulsively vomiting. As the Germans neared the south of France, a friend persuaded Carrington to flee to Spain. Facing the approach “of robots, of thoughtless, fleshless beings,” she packed a suitcase that bore on a brass plate the word Revelation. This was only the beginning of a journey into madness that was to end with Carrington confined in a mental institution, overwhelmed not only by her own terrible imaginings but by her doctor’s sadistic course of treatment. In Down Below she describes her ordeal—in which the agonizing and the marvelous were equally combined—with a startling, almost impersonal precision and without a trace of self-pity. Like Daniel Paul Schreber’s Memoirs of My Nervous Illness, Down Below brings the hallucinatory logic of madness home.