A Void by (1994, Hardcover) 1st Edition 1st Printing
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1
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A VOID (1994)
EN USISBN: 9780002711197 bzw. 0002711192, in Englisch, (London): Harvill, (1994). gebraucht.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: DEU.
Von Händler/Antiquariat, Blue Mountain Books & Manuscripts, Ltd.
(London): Harvill, (1994).. (1994).. Very good. - Octavo, cloth in a dust wrapper. The binding is lightly bumped & the rear panel of the dust jacket is lightly rubbed. xi, 284 & [1] pages plus 1-page publisher's catalog. The bottom corners of 2 leaves are bumped. Near fine. First edition in English.Translated from the French by Gilbert Adair.
Von Händler/Antiquariat, Blue Mountain Books & Manuscripts, Ltd.
(London): Harvill, (1994).. (1994).. Very good. - Octavo, cloth in a dust wrapper. The binding is lightly bumped & the rear panel of the dust jacket is lightly rubbed. xi, 284 & [1] pages plus 1-page publisher's catalog. The bottom corners of 2 leaves are bumped. Near fine. First edition in English.Translated from the French by Gilbert Adair.
2
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A Void (1994)
EN HCISBN: 9780002711197 bzw. 0002711192, in Englisch, William Collins; HarperCollins, Vereinigte Staaten von Amerika, gebundenes Buch, mit Einband.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkosten nach: DEU.
Von Händler/Antiquariat, Zeno's.
New York. 1994. Harvill/Harper Collins. 1st American Edition. Very Good In Slightly Worn Dustjacket. 256 pages. hardcover. Georges Perec (7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist and essayist. He was a member of the Oulipo group. Perec was born the only son of Icek Judko and Cyrla (Schulewicz) Peretz – Polish Jews who had emigrated to France in the 1920s – in a working-class district of Paris. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Perec's father, who enlisted in the French Army during World War II, died in 1940 from unattended gunfire or shrapnel wounds, and Perec's mother perished in the Nazi Holocaust, probably in Auschwitz after 1943. Perec was taken into the care of his paternal aunt and uncle in 1942, and in 1945 he was formally adopted by them. He started writing reviews and essays for La Nouvelle Revue française and Les Lettres nouvelles, prominent literary publications, while studying history and sociology at the Sorbonne. In 1958/59 Perec served in the army (XVIIIe Régiment de Chasseurs Parachutistes), and married Paulette Petras after being discharged. They spent one year (1960/1961) in Sfax (Tunisia), where Paulette worked as a teacher. In 1961, Perec began working at the Neurophysiological Research Laboratory in the unit's research library funded by the CNRS and attached to the Hôpital Saint-Antoine as an archivist, a low-paid position which he retained until 1978. A few reviewers have noted that the daily handling of records and varied data may have had an influence on his literary style. In any case, Perec's work on the reassesment of the academic journals under subscription was influenced by a talk about the handling of scientific information given by Eugene Garfield in Paris and he was introduced to Marshall McLuhan by Jean Duvignaud. Perec's other major influence was the Oulipo, which he joined in 1967, meeting Raymond Queneau, among others. Perec dedicated his masterpiece, La Vie mode d'emploi (Life A User's Manual) to Queneau, who died before it was published. Perec began working on a series of radio plays with his translator Eugen Helmle and the musician Philippe Drogoz in the late 60s; less than a decade later, he was making films. His first work, based on his novel Un Homme qui dort, was co-directed by Bernard Queysanne, and won him the Prix Jean Vigo in 1974. Perec also created crossword puzzles for Le Point from 1976 on. La Vie mode d'emploi (1978) brought Perec some financial and critical success—it won the Prix Médicis—and allowed him to turn to writing full-time. He was a writer in residence at the University of Queensland, Australia in 1981, during which time he worked on the unfinished 53 Jours (53 Days). Shortly after his return from Australia, his health deteriorated. A heavy smoker, he was diagnosed with lung cancer. He died the following year, only forty-five years old; his ashes are held at the columbarium of the Père Lachaise Cemetery. Many of his novels and essays abound with experimental word play, lists and attempts at classification, and they are usually tinged with melancholy. Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965. His most famous novel, La Vie mode d'emploi (Life A User's Manual), was published in 1978. Its title page describes it as `novels´, in the plural, the reasons for which become apparent on reading. La Vie mode d'emploi is an immensely complex and rich work; a tapestry of interwoven stories and ideas as well as literary and historical allusions, based on the lives of the inhabitants of a fictitious Parisian apartment block. It was written according to a complex plan of writing constraints, and is primarily constructed from several elements, each adding a layer of complexity. The 99 chapters of his 600-page novel, move like a knight's tour of a chessboard around the room plan of the building, describing the rooms and stairwell and telling the stories of the inhabitants. At the end, it is revealed that the whole book actually takes place in a single moment, with a final twist that is an example of `cosmic irony´. It was translated into English by David Bellos in 1987. Some critics have cited the work as an example of postmodern fiction. Perec is noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter `e´. It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name `Georges Perec´ is full of `e´s, the disappearance of the letter also ensures the author's own `disappearance´. His novella Les revenentes (1972) is a complementary univocalic piece in which the letter `e´ is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three. It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both `e´ and a vowel other than `e´). W ou le souvenir d'enfance, (W, or the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called `W´, patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of The Holocaust is explained. `Cantatrix sopranica L. Scientific Papers´ is a spoof scientific paper detailing experiments on the `yelling reaction´ provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. `(Karybb & Szyla, 1973)´. David Bellos, who has translated several of Perec's works, wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Académie Goncourt's bourse for biography in 1994. The Association Georges Perec has extensive archives on the author in Paris. In 2013, Perec's initially rejected novel `Gaspar pas mort´ (Gaspar is not dead), which was believed to be lost, was found by David Bellos amongst papers in the house of Perec's friend Alain Guérin. Asteroid no. 2817, discovered in 1982, was named after Perec. In 1994, a street in the 20th arrondissement of Paris was named after him, rue Georges-Perec. The French postal service issued a stamp in 2002 in his honour; it was designed by Marc Taraskoff and engraved by Pierre Albuisson. For his work, Perec won the Prix Renaudot in 1965, the Prix Jean Vigo in 1974, the Prix Médicis in 1978. Cover illustration by Mark Moran. Photograph of Georges Perec by Anne de Brunhoff. 0002711192. keywords: 41553. inventory # 20691. FROM THE PUBLISHER - As his country is torn apart by social and political anarchy, A VOID´s protagonist, Anton Vowl, a chronic insomniac, is unaccountably found missing. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. All that it brings to light, though, is Vowl´s liking (uncannily similar to his author´s) for parody, wordplay and dazzling fictional constructs, which continually risk spiraling out of control. And, gradually, insidiously, a ghost from Vowl´s past starts to cast its malignant shadow. This is a story chock-full of plots and subplots, of loops within loops, of trails in pursuit of trails in pursuit of trails, all of which allow its author an opportunity to display his customary virtuosity as an avant-gardist magician, acrobat and clown. A VOID´s translator, too, is just as brilliant at such linguistic conjuring tricks, fully, unflinchingly, assuming a monstrously constraint laid down by its author - which is to say, to propound a gripping Gothic fiction, a fiction with lots of twists and turns, with a Russian-doll construction worthy of Calvino, of John Barth, of Jan Potocki´s MANUSCRIPT FOUND AT SARAGOSSA, without at any point invoking that most basic prop of traditional syntax: an e! `The ultimate challenge to the translator´s art, will and nerve´ - ANDY MARTIN, The Times. `The actual book, a parody thriller, is both funny and curiously moving. You can read a long way in it before you even realise the self—imposed constraint which is responsible for the haunting strangeness of its tone´ - ROBERT NYE, The Times. ISBN: 0002711192.
Von Händler/Antiquariat, Zeno's.
New York. 1994. Harvill/Harper Collins. 1st American Edition. Very Good In Slightly Worn Dustjacket. 256 pages. hardcover. Georges Perec (7 March 1936 – 3 March 1982) was a French novelist, filmmaker, documentalist and essayist. He was a member of the Oulipo group. Perec was born the only son of Icek Judko and Cyrla (Schulewicz) Peretz – Polish Jews who had emigrated to France in the 1920s – in a working-class district of Paris. He was a distant relative of the Yiddish writer Isaac Leib Peretz. Perec's father, who enlisted in the French Army during World War II, died in 1940 from unattended gunfire or shrapnel wounds, and Perec's mother perished in the Nazi Holocaust, probably in Auschwitz after 1943. Perec was taken into the care of his paternal aunt and uncle in 1942, and in 1945 he was formally adopted by them. He started writing reviews and essays for La Nouvelle Revue française and Les Lettres nouvelles, prominent literary publications, while studying history and sociology at the Sorbonne. In 1958/59 Perec served in the army (XVIIIe Régiment de Chasseurs Parachutistes), and married Paulette Petras after being discharged. They spent one year (1960/1961) in Sfax (Tunisia), where Paulette worked as a teacher. In 1961, Perec began working at the Neurophysiological Research Laboratory in the unit's research library funded by the CNRS and attached to the Hôpital Saint-Antoine as an archivist, a low-paid position which he retained until 1978. A few reviewers have noted that the daily handling of records and varied data may have had an influence on his literary style. In any case, Perec's work on the reassesment of the academic journals under subscription was influenced by a talk about the handling of scientific information given by Eugene Garfield in Paris and he was introduced to Marshall McLuhan by Jean Duvignaud. Perec's other major influence was the Oulipo, which he joined in 1967, meeting Raymond Queneau, among others. Perec dedicated his masterpiece, La Vie mode d'emploi (Life A User's Manual) to Queneau, who died before it was published. Perec began working on a series of radio plays with his translator Eugen Helmle and the musician Philippe Drogoz in the late 60s; less than a decade later, he was making films. His first work, based on his novel Un Homme qui dort, was co-directed by Bernard Queysanne, and won him the Prix Jean Vigo in 1974. Perec also created crossword puzzles for Le Point from 1976 on. La Vie mode d'emploi (1978) brought Perec some financial and critical success—it won the Prix Médicis—and allowed him to turn to writing full-time. He was a writer in residence at the University of Queensland, Australia in 1981, during which time he worked on the unfinished 53 Jours (53 Days). Shortly after his return from Australia, his health deteriorated. A heavy smoker, he was diagnosed with lung cancer. He died the following year, only forty-five years old; his ashes are held at the columbarium of the Père Lachaise Cemetery. Many of his novels and essays abound with experimental word play, lists and attempts at classification, and they are usually tinged with melancholy. Perec's first novel, Les Choses (Things: A Story of the Sixties) was awarded the Prix Renaudot in 1965. His most famous novel, La Vie mode d'emploi (Life A User's Manual), was published in 1978. Its title page describes it as `novels´, in the plural, the reasons for which become apparent on reading. La Vie mode d'emploi is an immensely complex and rich work; a tapestry of interwoven stories and ideas as well as literary and historical allusions, based on the lives of the inhabitants of a fictitious Parisian apartment block. It was written according to a complex plan of writing constraints, and is primarily constructed from several elements, each adding a layer of complexity. The 99 chapters of his 600-page novel, move like a knight's tour of a chessboard around the room plan of the building, describing the rooms and stairwell and telling the stories of the inhabitants. At the end, it is revealed that the whole book actually takes place in a single moment, with a final twist that is an example of `cosmic irony´. It was translated into English by David Bellos in 1987. Some critics have cited the work as an example of postmodern fiction. Perec is noted for his constrained writing: his 300-page novel La disparition (1969) is a lipogram, written without ever using the letter `e´. It has been translated into English by Gilbert Adair under the title A Void (1994). The silent disappearance of the letter might be considered a metaphor for the Jewish experience during the Second World War. Since the name `Georges Perec´ is full of `e´s, the disappearance of the letter also ensures the author's own `disappearance´. His novella Les revenentes (1972) is a complementary univocalic piece in which the letter `e´ is the only vowel used. This constraint affects even the title, which would conventionally be spelt Revenantes. An English translation by Ian Monk was published in 1996 as The Exeter Text: Jewels, Secrets, Sex in the collection Three. It has been remarked by Jacques Roubaud that these two novels draw words from two disjoint sets of the French language, and that a third novel would be possible, made from the words not used so far (those containing both `e´ and a vowel other than `e´). W ou le souvenir d'enfance, (W, or the Memory of Childhood, 1975) is a semi-autobiographical work which is hard to classify. Two alternating narratives make up the volume: one, a fictional outline of a totalitarian island country called `W´, patterned partly on life in a concentration camp; and the second, descriptions of childhood. Both merge towards the end when the common theme of The Holocaust is explained. `Cantatrix sopranica L. Scientific Papers´ is a spoof scientific paper detailing experiments on the `yelling reaction´ provoked in sopranos by pelting them with rotten tomatoes. All the references in the paper are multi-lingual puns and jokes, e.g. `(Karybb & Szyla, 1973)´. David Bellos, who has translated several of Perec's works, wrote an extensive biography of Perec: Georges Perec: A Life in Words, which won the Académie Goncourt's bourse for biography in 1994. The Association Georges Perec has extensive archives on the author in Paris. In 2013, Perec's initially rejected novel `Gaspar pas mort´ (Gaspar is not dead), which was believed to be lost, was found by David Bellos amongst papers in the house of Perec's friend Alain Guérin. Asteroid no. 2817, discovered in 1982, was named after Perec. In 1994, a street in the 20th arrondissement of Paris was named after him, rue Georges-Perec. The French postal service issued a stamp in 2002 in his honour; it was designed by Marc Taraskoff and engraved by Pierre Albuisson. For his work, Perec won the Prix Renaudot in 1965, the Prix Jean Vigo in 1974, the Prix Médicis in 1978. Cover illustration by Mark Moran. Photograph of Georges Perec by Anne de Brunhoff. 0002711192. keywords: 41553. inventory # 20691. FROM THE PUBLISHER - As his country is torn apart by social and political anarchy, A VOID´s protagonist, Anton Vowl, a chronic insomniac, is unaccountably found missing. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. All that it brings to light, though, is Vowl´s liking (uncannily similar to his author´s) for parody, wordplay and dazzling fictional constructs, which continually risk spiraling out of control. And, gradually, insidiously, a ghost from Vowl´s past starts to cast its malignant shadow. This is a story chock-full of plots and subplots, of loops within loops, of trails in pursuit of trails in pursuit of trails, all of which allow its author an opportunity to display his customary virtuosity as an avant-gardist magician, acrobat and clown. A VOID´s translator, too, is just as brilliant at such linguistic conjuring tricks, fully, unflinchingly, assuming a monstrously constraint laid down by its author - which is to say, to propound a gripping Gothic fiction, a fiction with lots of twists and turns, with a Russian-doll construction worthy of Calvino, of John Barth, of Jan Potocki´s MANUSCRIPT FOUND AT SARAGOSSA, without at any point invoking that most basic prop of traditional syntax: an e! `The ultimate challenge to the translator´s art, will and nerve´ - ANDY MARTIN, The Times. `The actual book, a parody thriller, is both funny and curiously moving. You can read a long way in it before you even realise the self—imposed constraint which is responsible for the haunting strangeness of its tone´ - ROBERT NYE, The Times. ISBN: 0002711192.
3
Symbolbild
A Void (1995)
EN HC US FEISBN: 9780002711197 bzw. 0002711192, in Englisch, 288 Seiten, Harvill, gebundenes Buch, gebraucht, Erstausgabe.
Neu ab: $41.95 (6 Angebote)
Gebraucht ab: $10.83 (30 Angebote)
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Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, fitz_books.
As his country is torn apart by social and political anarchy, Anton Vowl, a chronic insomniac, disappears. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. Hardcover, Ausgabe: First Edition, Label: Harvill, Harvill, Produktgruppe: Book, Publiziert: 1995-01, Studio: Harvill, Verkaufsrang: 1436728.
Von Händler/Antiquariat, fitz_books.
As his country is torn apart by social and political anarchy, Anton Vowl, a chronic insomniac, disappears. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. Hardcover, Ausgabe: First Edition, Label: Harvill, Harvill, Produktgruppe: Book, Publiziert: 1995-01, Studio: Harvill, Verkaufsrang: 1436728.
4
A Void (1995)
EN HC NW FEISBN: 9780002711197 bzw. 0002711192, in Englisch, 288 Seiten, Harvill, gebundenes Buch, neu, Erstausgabe.
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 1-2 business days.
Von Händler/Antiquariat, RushLtd.
As his country is torn apart by social and political anarchy, Anton Vowl, a chronic insomniac, disappears. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. Hardcover, Ausgabe: First Edition, Label: Harvill, Harvill, Produktgruppe: Book, Publiziert: 1995-01, Studio: Harvill, Verkaufsrang: 737000.
Von Händler/Antiquariat, RushLtd.
As his country is torn apart by social and political anarchy, Anton Vowl, a chronic insomniac, disappears. Ransacking his Paris flat, a group of his faithful companions trawl through his diary for any indication, for any faint hint, as to his location. Hardcover, Ausgabe: First Edition, Label: Harvill, Harvill, Produktgruppe: Book, Publiziert: 1995-01, Studio: Harvill, Verkaufsrang: 737000.
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