Herta Müllerová Knihy

Herta Müller (1953) je nemecká spisovateľka rumunského pôvodu, nositeľka Nobelovej ceny za literatúru za rok 2009. Vo svojich dielach sa nástojčivo vracia k hrôze a banalite zla v komunistickej diktatúre. Román Dnes by som sa radšej nestretla, poeticky skomprimovaný do jednej cesty električkou k budove tajnej polície, sýti slovami príbehy dotýkajúce sa života mladej ženy, ktorá „je predvolaná“.

Set in Romania at the height of Ceausescu's reign of terror, this is the story of a group of young students, each of whom has left the impoverished provinces for the city in search of better prospects. But the city too bears the mark of the dictatorship's corrosive touch.

Juxtaposing reality and fantasy, nightmares and dark laughter, this title presents a collection of largely autobiographical stories based on Herta Muller's childhood in the Romanian countryside.

A haunting and cinematic early masterpiece set in Ceaucescu's Romania from Herta Muller, the winner of the 2009 Nobel Prize in Literature.

From the winner of the 2009 Nobel Prize in Literature“[The Passport] has the same clipped prose cadences as Nadirs, this time applied to evoke the trapped mentality of a man so desperate for freedom that he views everything through a temporal lens, like a prisoner staring at a calendar in his cell.”—Wall Street Journal“A swift, stinging narrative, fable-like in its stoic concision and painterly detail.”—The Philadelphia InquirerThe Passport is a beautiful, haunting novel whose subject is a German village in Romania caught between the stifling hopelessness of Ceausescu’s dictatorship and the glittering temptations of life in the West. Stories from the past are woven together with the problems Windisch, the village miller, faces after he applies for permission to migrate to West Germany. Herta Müller (Herta Mueller) describes with poetic attention the dreams and superstitions, conflicts and oppression of a forgotten region, the Banat, in the Danube Plain. In sparse, poetic language, Muller captures the forlorn plight of a trapped people.

An unexpected, exciting work from one of the most protean writers ever to win the Nobel Prize. To create the poems in this collection, Herta Müller cut up countless newspapers and magazines in search of striking phrases, words, or even fragments of words, which she then arranged in the form of a collage. Father's on the Phone with the Flies presents seventy-three of Müller's collage poems for the first time in English translation, alongside full-color reproductions of the originals. Müller takes full advantage of the collage form, generating poems rich in wordplay, ambiguity, and startling, surreal metaphors--the disruption and dislocation at their core rendered visible through stark contrasts in color, font, and type size. Liberating words from conformity and coercion, Müller renders them fresh and invests them forcefully with personal experience.

Exploring themes of exile and identity, the story follows Irene, a delicate woman from a German family in Romania who has recently emigrated to West Germany. As she navigates her new life, she becomes entangled with three troubled men, each reflecting her own struggles with political and social isolation. Through these relationships, Irene embarks on a profound journey of self-discovery, grappling with her sense of belonging and the complexities of her homeland.

Herta Müller translates her visual impressions of the semblance of light, reflections in water, bleached boulders, and colorful shadows into sensitive poetic painting.

„Heimweh ist keine gute Idee“ – eine Wort für Wort gefundene Geschichte der Literaturnobelpreisträgerin Herta MüllerHerta Müller erfindet eine neue literarische Form des Erzählens. Eine Geschichte in Collagen. Gezeigt werden Szenen im Auffanglager einer deutschen Kleinstadt. Einer der Beamten in der Erzählung ist ein gewisser Herr Fröhlich von der Prüfstelle B. Ein anderer breitet bei jeder Begegnung die Arme aus wie ein Vogel und sagt Oh, Oh, Oh. Aberwitzige Gespräche mit ihnen werden zu einem unfreiwillig komischen Schlagabtausch. Und dann ist da das Heimweh der Geflohenen, das immer größer wird und an den Himmel anwächst. Meisterlich versteht es Herta Müller, Bilder dafür zu finden, wie sich Ohnmacht anfühlt, und was Willkür anrichtet. Sie sind rätselhaft, abgründig, manchmal auch komisch, und immer hochpoetisch.