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Jenny Erpenbeck

Auteur de Go, Went, Gone

21+ oeuvres 2,612 utilisateurs 162 critiques 5 Favoris

A propos de l'auteur

Jenny Erpenbeck was born on March 12, 1967 in East Berlin. She is a German director and writer. In Berlin she attended an Advanced High School, where she graduated in 1985. She then completed a two-year apprenticeship as a bookbinder before working at several theaters as props and wardrobe afficher plus supervisor. From 1988 to 1990 Erpenbeck studied theatre at the Humboldt University of Berlin. In 1990 she changed her studies to Music Theater Director studying with Ruth Berghaus. After the completion of her studies in 1994 she spent some time as an assistant director at the opera house in Graz, where in 1997 she did her own productions of Schoenberg's Erwartung, Bartók's Duke Bluebeard's Castle and a world premiere of her own piece Cats Have Seven Lives. As a freelance director, she directed in 1998 different opera houses in Germany and Austria, including Monteverdi's L'Orfeo in Aachen, Acis and Galatea at the Berlin State Opera and Wolfgang Amadeus Mozart's Zaide in Nuremberg/Erlangen. In the 1990s Erpenbeck started a writing career in addition to her directing. She is author of narrative prose and plays: in 1999, History of the Old Child, her debut; in 2001, her collection of stories Trinkets; in 2004, the novella Dictionary; and in February 2008, the novel Visitation. In March 2007, Erpenbeck took over a column by Nicole Krauss in the Frankfurter Allgemeine Zeitung. In 2015 won the Independent Foreign Fiction Prize with her title The End of Days. (Bowker Author Biography) afficher moins

Œuvres de Jenny Erpenbeck

Go, Went, Gone (2017) 712 exemplaires
Le Bois de Klara (2008) 689 exemplaires
The End of Days (2012) 575 exemplaires
Kairos (2021) 196 exemplaires
The Book of Words (2004) 101 exemplaires
Not a Novel: A Memoir in Pieces (2019) 92 exemplaires
L'Enfant sans âge (1999) 89 exemplaires
The Old Child and Other Stories (2005) 49 exemplaires
Bagatelles (2001) 40 exemplaires
Dinge, die verschwinden (2009) 19 exemplaires
4 x Erpenbeck (2017) 3 exemplaires
Wolfskers (2009) 2 exemplaires

Oeuvres associées

All for Nothing (2006) — Introduction, quelques éditions498 exemplaires
Granta 152: Still Life (2020) — Contributeur — 37 exemplaires

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Signalé
ghefferon | 6 autres critiques | Jan 18, 2024 |
Katharina and Hans meet on a bus in East Berlin and have a long running, complicated, intense affair. She is a 19 year old student, he is quite a lot older, a married academic. Their story unfolds against a backdrop of political and social change, as it starts in 1986, in what will turn out to be 3 years before the Berlin Wall comes down.

While Hans can't commit to her, he is possessive and jealous of his lover. As she grows up and the changes in Germany have very different impacts on Katharina and Hans - more opportunities for her, whereas he is facing the end of a relatively privileged existence in East Germany, with secure academic employment and status. Things become unpleasant with a lot of emotional manipulation and abuse and I wished Katharina would get out of this increasingly toxic relationship much sooner than she actually did. The story is framed by a prologue in which Katharina looks back, decades later.

I found this novel a challenging and thought provoking read.
… (plus d'informations)
 
Signalé
elkiedee | 6 autres critiques | Jan 3, 2024 |
 
Signalé
RachelGMB | 34 autres critiques | Dec 27, 2023 |
This was an interesting read. I'm attracted to this author by her historical fiction told by ordinary people leading ordinary lives. This book delivers, with a Jewish/Christian family's life and troubles in Eastern Europe in the first half of the 20th century.
But there are a couple of quirks. The story is told in a series of 'sliding doors' segments - the father runs away to Ellis Island and a life in America in the first section, but stays with the family in the second section. An interesting plot device that I quite enjoyed.
Hoover, the author's decision to omit virtually all personal names is more problematic. It is hard to keep track of which 'he' or 'she' is the subject. And the 'mother' may also be the 'grandmother'. Maybe the pronouns are less ambiguous in the original German, but I found it lessened my enjoyment. Curiously, personal names appear in the final segment of the book. The author was making some sort of a point, which sadly, escaped me.
I've now read two books by Erpenbeck, and I'll be back for more.
… (plus d'informations)
 
Signalé
mbmackay | 34 autres critiques | Nov 27, 2023 |

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Statistiques

Œuvres
21
Aussi par
2
Membres
2,612
Popularité
#9,827
Évaluation
3.9
Critiques
162
ISBN
137
Langues
18
Favoris
5

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