Lorrie Moore - Die Froschkönigin
Roman
|
btb
ISBN-13: 9783833307553
9,95 €
Ein Sommer voller Aufbruchssehnsucht, ersten Flirts, gegenseitigen
Bekenntnissen. Sils und Berie arbeiten in »Storyland« — einem
Märchen-Vergnügungspark — wobei die hübsche Sils als Cinderella die
Besucher bezaubert. Berie hingegen ist die Kluge, eine linkische
Froschkönigin, die Sils vor falschen Prinzen bewahrt.
Auch wenn man ahnt, dass diese Freundschaft
nicht bestehen wird, so wird sie doch jene sein, die Berie in ihrem
Herzen bewahrt, wie die Erinnerung an das Mädchen, das man einmal war
und nie wieder sein wird.
Lorrie Moore ist eine der wichtigsten literarischen Stimmen der USA. Nick Hornby nennt sie sein »Vorbild und die beste amerikanische Schriftstellerin ihrer Generation«.
Lorrie Moore ist eine der wichtigsten literarischen Stimmen der USA. Nick Hornby nennt sie sein »Vorbild und die beste amerikanische Schriftstellerin ihrer Generation«.
Lorrie Moore wurde 1957 in Glens Falls, New York geboren. Sie lebt in Madison und lehrt Anglistik an der University of Wisconsin. Moore gehört zu den renommiertesten Autorinnen zeitgenössischer amerikanischer Literatur. Im Berlin Verlag erschien 2002 ihr legendärer Erzählungsband Was man von einigen Leuten nicht behaupten kann (BvT, 2002). Im Berliner Taschenbuch Verlag liegt außerdem vor: die Erzählungsbände Pepsi Hotel (2007) und Leben ist Glückssache (2008) sowie der Roman Die Verrückungen der Benna Carpenter (2007).
Presse
mangels deutscher Rezensionen hier einige englische Presse:
Frogs, Myths and AdolescenceA few years ago, Lorrie Moore was wandering through an art gallery when she came upon a painting called "Who Will Run the Frog Hospital?" The work, by Nancy Mladenoff, depicts two young girls regarding a pair of bandaged frogs. Ms. Moore not only bought the painting, she also borrowed its title and imagery for her second novel.
"There's a place in a story where things can fall into your writing, and a place later on where the manuscript closes up," Ms. Moore explained in a telephone interview from Madison, Wis., where she lives with her husband and is on leave from her position as a professor of English at the University of Wisconsin. The painting, which in the novel is attributed to one of the characters, "fell in" because it reflected the intense emotional attachment between two teen-age girls that Ms. Moore was exploring in her fiction. "These frogs that looked as if they had been kissed and wounded represented the mythic aspect of what I was trying to do," she said.
“I felt close to her, in a larcenous way, as if here in the shower, using her things, all the new toiletries she now owned, I could know better the person she’d become. All evening, I’d been full of reminiscences, but she had seldom joined in. Instead she was full of kindnesses — draping her own sweater around my shoulders; bringing me tea. How could I know or hope that she contained within her all our shared life, that she had not set it aside to make room for other days and affections and things that now had all made their residence and marks within her?”
"Time," says Lorrie Moore. "It's always been a struggle for time. Look." She points across the room, past piles of her teenage son's sports gear. "There's my Christmas tree." A tiny Norfolk spruce sits in a pot on the windowsill, oppressed with some outsize tinselly stars. "I didn't have time to get a real tree – though of course it is a real tree – or even to take down the tree I actually got. It's always been a struggle for time, though I do feel as I get older that more time is opening up. I mean, my son is now away at [boarding] school." In theory, she's alone – there's no one else in her life – and, in theory, she should have all the time in the world.
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