Bøger af Robert Boyers

In clear, interesting, lively prose, Boyers offers superb models for the very short critical essay.

'The New Salmagundi Reader' comprises forty-three pieces in subject categories such as the Sense of the Past; Homelands; Writers; The Art Scene; Politics; and Varieties.

As editor of the quarterly Salmagundi for the past fifty years, Robert Boyers has been on the cutting edge of developments in politics, culture, and the arts. Reflecting on his collaborations and quarrels with some of the twentieth century's most transformative writers, artists, and thinkers, Boyers writes a wholly original intellectual memoir that rigorously confronts selected aspects of contemporary society. Organizing his chapters around specific ideas, Boyers anatomizes the process by which they fall in and out of fashion and often confuse those who most ardently embrace them. In provocative encounters with authority, fidelity, "e;the other,"e; pleasure, and a wide range of other topics, Boyers tells colorful stories about his own life and, in the process, studies the fate of ideas in a society committed to change and ill equipped to assess the losses entailed in modernity. Among the writers who appear in these pages are Susan Sontag and V. S. Naipaul, Jamaica Kincaid and J. M. Coetzee, as well as figures drawn from all walks of life, including unfaithful husbands, psychoanalysts, terrorists, and besotted beauty lovers.

In these elegant essays, many of them originally written for The New Republic and Harper's, Robert Boyers examines the role of the political imagination in shaping the works of such important contemporary writers as W. G. Sebald and Philip Roth, Nadine Gordimer and Mario Vargas Llosa, Natalia Ginzburg and Pat Barker, J. M. Coetzee and John Updike, V. S. Naipaul and Anita Desai. Occasionally he finds that politics actually figures very little in works that only pretend to be interested in politics. Elsewhere he discovers that certain writers are not equal to the political issues they take on or that their work is fatally compromised by complacency or wishful thinking.In the main, though, Boyers writes as a lover of great literature who wishes to understand how the best writers do justice to their own political obsessions without suggesting that everything is reducible to politics. Resisting the notion that novels can be effectively translated into ideas or positions, he resists as well the notion that art and politics must be held apart, lest works of fiction somehow be contaminated by their association with "e;real life"e; or public issues. The essays offer a combination of close reading, argument, and assessment.What, Boyers asks, is the relationship between form and substance in a work whose formal properties are particularly striking? Is it reasonable to think of a particular writer as "e;reactionary"e; merely because he presents an unflattering portrait of revolutionary activists or because he is less than optimistic about the future of newly independent societies? What is the status of private life in works set in politically tumultuous times? Can the novelist be "e;responsible"e; if he consistently refuses to engage the conditions that affect even the intimate lives of his characters?Such questions inform these essays, which strive to be true to the essential spirit of the works they discuss and to interrogate, as sympathetically as possible, the imagination of writers who negotiate the unstable relationships between society and the individual, art and ideas.

Fiction. These astonishing stories, which range in setting from Palm Beach to Paris to poet Robert Lowell's New York City hotel room, trace the designs and delusions of people at turning points and souls in turmoil. Robert Boyers is Tisch Professor of Arts and Letters at Skidmore College and editor of Salmagundi. He is the author of seven books, including Atrocity and Amnesia: The Political Novel Since 1945. He also won the Cooper Prize for the best short story of the year, 2003. Recent stories have appeared in The Yale Review, Harvard Review, Parnassus, and Michigan Quarterly Review.